Podcast appearances and mentions of Gustav Mahler

Paola Capriolo, Teresa Maresca"Il canto della luna"Con la traduzione dal tedesco del "Canto della terra" di Gustav MahlerBibliotheka Edizioniwww.bibliotheka.itNell'autunno 1907 fu pubblicata in Germania l'antologia Il flauto cinese, un centinaio di liriche di autori compresi tra il XII secolo a. C. e l'epoca contemporanea. Gustav Mahler ne venne a conoscenza e l'incontro con quelle poesie ebbe un immediato riflesso sulla sua opera. Nel 1908, sulle Dolomiti, dove trascorse le ultime estati della sua vita, compose infatti il ciclo di lieder Il Canto della Terra, basato su sette poesie della raccolta, traendo spunto per la maggior parte da Li Po (702 – 763). L'ombra fascinosa e potente di uno dei capolavori della musica del ‘900 ha suggerito alla scrittrice Paola Capriolo e all'artista Teresa Maresca un libro a quattro mani che intreccia in modo personalissimo e originale letteratura, pittura e musica.Paola Capriolo vive e lavora a Milano.Ha esordito nel 1988 con i racconti de La Grande Eulalia (Premio Berto), in seguito Il Nocchiero (Premio Rapallo, Premio Selezione Campiello), Il Doppio Regno (Premio Grinzane Cavour), e, tra gli altri, Una Luce Nerissima, Il Pianista Muto, Mi ricordo, Marie e il signor Mahler, Irina Nikolaevna.Tutti i suoi romanzi sono stati tradotti in molte lingue. Ha tradotto classici della letteratura tedesca, tra cui Goethe, Kafka, Kleist, Thomas Mann. Teresa Maresca vive a Milano dagli anni '80.Con una pittura figurativa e visionaria lavora sui temi del paesaggio, spesso rivisto attraverso la memoria cinematografica o la poesia.Hanno scritto di lei Carlo Sini, Sergio Givone, Lalla Romano, Roberto Sanesi, Paolo Biscottini.Ha pubblicato il libro Il Primitivo del Sogno su arte, natura e pensiero primitivo e ha in preparazione la mostra-installazione Stars&Bones per la Fabbrica del Vapore di Milano. Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Andrés Amorós continúa con el ciclo dedicado al compositor austriaco Gustav Mahler.

Ein Bauernhaus in Toblach, eine zugige Holzhütte – und Musik an der Grenze zum Unendlichen: Mahlers 9. Sinfonie klingt wie ein Abschied, aber auch wie ein letzter großer Liebesbrief an die Welt. Von Christoph Vratz.

Durante décadas, Armande de Polignac permaneceu praticamente ausente da história da música. O seu nome desapareceu dos programas de concerto e muitas obras sobreviveram apenas em manuscritos dispersos. Agora, os pianistas Bruno Belthoise e João Costa Ferreira recuperam a compositora num disco que inclui primeiras gravações mundiais, revelando uma figura essencial da transição entre o romantismo tardio e a modernidade musical francesa do início do século XX. Esquecida durante mais de um século, Armande de Polignac regressa agora através de um disco de Bruno Belthoise e João Costa Ferreira, dedicado a manuscritos reencontrados e primeiras gravações mundiais. Entre simbolismo, impressionismo e modernismo do início do século XX, o álbum revela uma compositora singular, cuja obra foi apagada da memória musical apesar da originalidade, da estética e da proximidade aos grandes centros artísticos franceses do início do século XX. “A música de Armande de Polignac é realmente uma coisa para descobrir”, começa por contar Bruno Belthoise. Para o pianista francês, a compositora pertence a um momento decisivo da cultura europeia, em que as mulheres começaram lentamente a conquistar espaço no universo da criação musical. “Ela fazia parte de uma família muito dedicada às artes e à música” e iniciou “muito jovem” os seus estudos musicais. Sobretudo, acrescenta Bruno Belthoise, pertenceu a uma geração que beneficiou de mudanças profundas na sociedade francesa: “Nos séculos antigos era quase impossível ser mulher compositora.” Bruno Belthoise recorda que o início do século XX coincidiu com a abertura gradual das grandes instituições musicais às mulheres. “Ela aproveitou uma dinâmica muito importante”, explica, referindo-se ao momento em que compositoras passaram a poder apresentar-se ao Prix de Rome. “Estas mulheres começaram a ser mais conhecidas no início do século XX.” Embora Armande de Polignac nunca tenha concorrido ao prémio, desenvolveu uma carreira intensa e ligada ao meio musical parisiense. “Ela dedicou a vida inteira à composição”, sublinha Bruno Belthoise. Estudou com figuras fundamentais da música francesa, entre elas Vincent d'Indy, Eugène Gigout e Gabriel Fauré. “Deixou uma obra muito importante, quase 200 obras em todos os domínios”, acrescenta. Música para piano, música de câmara, obras orquestrais, ópera e ballet fazem parte de um catálogo hoje ainda pouco conhecido. A compositora dirigiu igualmente as suas próprias obras no Théâtre du Châtelet, em Paris, e estreou a ópera Petite Sirène na Opéra de Nice. Para Bruno Belthoise, Armande de Polignac “simboliza a passagem entre a música romântica e a música moderna francesa”, num território onde convivem o impressionismo, o simbolismo e as novas linguagens do século XX. Ainda assim, a compositora acabou por desaparecer quase totalmente da memória musical europeia. “As suas obras não foram muito divulgadas, não foram muito editadas”, lamenta Bruno Belthoise. Grande parte da produção permaneceu inédita ou acessível apenas através de manuscritos. “Mesmo apesar de poder participar na programação de concertos em Paris, as mulheres não eram muito destacadas.” Ao ouvir o disco, a ausência prolongada na história da música de Armande de Polignac torna-se difícil de compreender. João Costa Ferreira descreve uma música construída sobre timbres delicados e ressonâncias quase suspensas. “Quando ouvimos Nos Jardins do Palácio do Sultão, sentimos esse universo tímbrico muito especial”, explica. O pianista português destaca ainda a importância do instrumento utilizado na gravação: “Havia um Steinway cujas características permitiam certas coisas que outros pianos não permitem.” A estética de Armande de Polignac revela uma forte influência do exotismo francês do início do século XX. João Costa Ferreira fala numa “procura por cores de países longínquos, como o mundo árabe e sobretudo o mundo asiático”. A compositora escreveu obras inspiradas na China, no Japão e nas atmosferas orientais das Mil e Uma Noites. “Ela seguia essa corrente estética modernista da procura por essas sonoridades exóticas”, acrescenta. Segundo João Costa Ferreira, essa linguagem resulta tanto do ambiente artístico parisiense como da influência directa dos mestres com quem Armande de Polignac estudou. “Vê-se claramente a influência dos seus pares e da sua época”, observa. A tradição impressionista francesa, marcada por Debussy e pelas Exposições Universais de Paris, atravessa muitas destas obras. Ainda assim, as referências nunca surgem como mera imitação. Há ecos de Fauré, Debussy ou mesmo de certas escolas russas, mas a escrita mantém sempre uma identidade própria. Bruno Belthoise enquadra essa diversidade no ambiente cultural extremamente aberto do início do século XX. “Era tudo aberto no início do século XX”, afirma. “Tchaikovsky chegou a Paris no fim do século XIX, Gustav Mahler no início do século XX. Essa convergência era importante para desenvolver a imaginação dos compositores.” Na escrita pianística, Bruno Belthoise identifica “uma mistura entre romantismo e modernismo”, associada a um trabalho particularmente sofisticado sobre a ressonância sonora. “Da maneira francesa, havia realmente este desenvolvimento do piano através das ressonâncias do instrumento”, explica. “Mas também a parte russa desenvolveu muito a escrita para piano.” Para João Costa Ferreira, interpretar estas partituras implica uma experiência rara no mundo contemporâneo da música clássica: tocar obras praticamente sem memória auditiva acumulada. “Hoje em dia, quando interpretamos Chopin ou Beethoven, temos todas as referências auditivas dessas obras”, explica. “Aqui criamos uma interpretação a partir do nada.” Esse desafio tornou-se central no percurso artístico dos dois pianistas. “Sentimos que estamos a descobrir algo pela primeira vez”, afirma João Costa Ferreira. “Propor uma primeira escuta, uma primeira interpretação de algo que nunca foi ouvido, pelo menos nos últimos cem anos, é muito estimulante.” Bruno Belthoise partilha a mesma visão. “Procurar repertório diferente é importante para nós”, diz. “Descobrir obras novas é uma coisa muito estimulante.” Esse trabalho de redescoberta já levou os dois pianistas a explorar repertórios esquecidos de compositores como José Vianna da Motta, Fernando Lopes-Graça ou Gabriel Fauré. Mas este disco surge também de uma dimensão pessoal. Bruno Belthoise revela que a ideia do projecto nasceu de “duas influências diferentes”. A primeira foi o pianista francês Laurent Martin, figura central na recuperação de compositoras francesas esquecidas. “O Laurent Martin gravou muitos discos e interpretou muitas vezes compositoras francesas”, recorda Bruno Belthoise. “Ele confiou-me uma quantidade de partituras dela, perguntando-me se eu estaria interessado em trabalhar a obra de Armande de Polignac para a fazer conhecer”. Essa transmissão entre músicos revelou-se decisiva para o projecto. Laurent Martin, conhecido pelo trabalho de investigação em torno do romantismo francês e das compositoras esquecidas, funcionou como verdadeiro impulsionador da redescoberta de Armande de Polignac. A segunda influência surgiu em Lisboa, através de uma descoberta inesperada. Um manuscrito de Cloches, ligado à família Assis de Barros, apareceu nas mãos de Bruno Belthoise graças ao investigador João Pedro Mendes dos Santos. “Foi exactamente como um arqueólogo”, admite o pianista francês. “Esse manuscrito surgiu completamente sem preparação e caiu nas minhas mãos.” A descoberta revelou uma ligação pouco conhecida entre Armande de Polignac e Portugal. “Ela tinha uma ligação particular à família Assis de Barros e visitou Lisboa várias vezes”, explica Bruno Belthoise. O disco inclui ainda várias obras para piano a quatro mãos, formação que exige uma relação muito específica entre intérpretes. “Tocar a quatro mãos é uma coisa de que gosto imenso”, afirma Bruno Belthoise. “É um pequeno exercício de equilibrismo.” A proximidade física obriga a reinventar gestos, movimentos e respirações. “É muito importante ensaiar juntos”, acrescenta. “Não podemos fazer piano a quatro mãos sem esse trabalho comum.” Para João Costa Ferreira, essa construção colectiva faz parte da própria identidade artística do duo. “Este desafio é completamente diferente do que gravar o grande repertório canónico”, afirma. Depois da edição do álbum, seguem-se agora concertos em Lisboa, Tavira, Madeira e França. Bruno Belthoise interpretou igualmente obras para piano solo de Armande de Polignac em Saint-Leu-la-Forêt, no Val-d'Oise, no passado 30 de Maio.

Diving into the working ways of some of the world's greatest artists. -----SourcesDaily Rituals - Mason Currey-----Time Stamps:3:49 - Benjamin Franklin: The two questions and the "air bath."6:05 - Scott F. Fitzgerald: Work like a lion9:04 - Paul Erdos: Drugs and stimulants12:20 - William Gass: Work angry14:07 - Anne Rice: Flexibility, ease, and uninterrupted time16:42 - David Lynch: Find a thinking place17:40 - Umberto Eco: Thinking in the cracks 19:05 - Henri de Toulouse-Lautrec: Is it sustainable?20:50 - Twyla Tharp: Building a bridge22:20 - Graham Greece: Burn your youth, sustain as you age23:50 - Marcel Proust and Philip Roth: Go monk mode26:25 - Carl Jung: Make it boring28:15 - Thomas Mann: Setting Boundaries30:05 - Gustav Mahler, Twyla Tharp: Preparing to  be creative32:47 - Nicholson Baker, Thomas Wolfe, Fredreich Schiller, Woody Allen - Get creative, find your way37:20 - Pyotr Ilich Tchaikovsky: Do the unpleasant first40:25 - Bernard Malamud: The only thing that matters42:03 - Anthony Trollope - Advice on starting a craft44:52 - Gustave Flaubert: the ups and downs of the creative process46:38 - Ernest Hemingway: Keep some juice in the tank47:30 - James Boswell: The morning reminder49:55 - Gertrude Stein, Martin Amis, Joyce Carol Oates - Genius in endurance in disguise 52:22 - Ideas on making time, finding effortless work, and inspiration54:20 - Karl Marx: The right regrets56:00 - William James: The Solomon Paradox58:26 - Rene Descartes - Don't compromise your working way-----Check out my books below:Daily Greatness: Short Stories and Essays on the Act of Becoming Chasing Greatness 2nd Edition - Timeless Stories on the Pursuit of ExcellenceStay connected and check out more on our website:

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler.

Neste episódio do podcast filosófico da Nova Acrópole do Brasil, os professores Danilo Gomes e José Roberto refletem sobre a elegância do comportamento e a necessidade de um retorno consciente à natureza. A partir de referências filosóficas como Confúcio, Platão, Ortega y Gasset e tradições antigas do Oriente e do Ocidente, o diálogo explora a relação entre ética, beleza e harmonia na vida humana. Ao longo da conversa, é apresentada a ideia de que a verdadeira elegância não está ligada apenas à aparência exterior, mas principalmente à forma como o ser humano se relaciona consigo mesmo, com os outros e com a natureza. O comportamento ético, cortês e harmonioso é visto como uma expressão de inteligência e discernimento, capaz de aproximar o indivíduo daquilo que há de mais essencial em sua natureza. Os professores também refletem sobre os desafios da sociedade contemporânea, marcada pela desconexão interior, pela perda do sentido de unidade e pelo afastamento do ritmo natural da vida. Em contraste, antigas civilizações compreendiam o ser humano como parte integrante do cosmos e cultivavam uma relação de profundo respeito com a Terra, o trabalho, os objetos e as relações humanas. A conversa destaca ainda como a amizade, a fraternidade, a cortesia e o cuidado com as pequenas coisas podem contribuir para uma sociedade mais humana, integrada e consciente. Ao reconhecer-se como parte de uma grande unidade viva, o ser humano pode reencontrar sentido, esperança e um propósito mais elevado para sua existência. Participantes: José Roberto e Danilo Gomes Trilha Sonora: Adagio da Sinfonia nº 10, de Gustav Mahler

¡Agárrate que nos vamos a Alemania/Austria con la orquesta MÁS GRANDE del mundo!Nos despedimos de España y ahora toca Gustav Mahler y su "Segunda Sinfonía, Resurrección". Me quito la boina y me pongo peluca de compositor loco de 1900. Te lo cuento igual: fácil, épico y como si tuvieras 8 años con una batuta de chocolate.Música imprescindible:https://www.youtube.com/playlist?list=PL1nofNLSFFB_GkbZjKzwmn5L8ZYUw5tEi"Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ ORTOLARRY:  - NORTE 9 #175 ESQ. OTE 164. COLONIA MOCTEZUMA SEGUNDA SECCION. CDMX - NORTE 17# 211-A COLONIA MOCTEZUMA SEGUNDA SECCION C.P 15530 ALCALDIA VENUSTIANO  Teléfonos: 5557860648, 5524158512. Whatsapp: 5561075125 

Andrés Amorós recuerda a Gustav Mahler.

durée : 01:27:35 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le chef Semyon Byshkov présente une intégrale des symphonies de Gustav Mahler enregistrées entre 2018 et 2025 au Rudolfinum de Prague, avec l'Orchestre philharmonique tchèque dont il est le directeur musical. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:35 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le chef Semyon Byshkov présente une intégrale des symphonies de Gustav Mahler enregistrées entre 2018 et 2025 au Rudolfinum de Prague, avec l'Orchestre philharmonique tchèque dont il est le directeur musical. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:04:39 - par : Max Dozolme - Il est mort il y a 115 ans jour pour jour : hommage à Gustav Mahler avec l'une de ses œuvres les plus terribles, sa Sixième Symphonie, la Symphonie Tragique ! Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

What can an art exhibition, a concert hall and Classical town tell us about twentieth century German history? On Radio 4's weekly discussion programme, setting the cultural agenda every Monday, Samira Ahmed leads a conversation exploring what inter-war Weimar, the Nazi's obsession with so-called 'degenerate art' and the programming of German music at the Wigmore Hall in London reveal about the course of German history and our responses to it. Katja Hoyer's last book, Beyond the Wall was a history of East Germany which concentrated on the consequences the Nazi rule and the Second World War. Now the Anglo-German Historian has turned her attention to Weimar, the town that gave its name to the ambitious republic whose failure paved the way to Nazism. Looking at the stories of a series of varied individuals, she asks how a nation that prided itself on its culture and civility enabled Nazism and why it haunts us to this day because we fear a repeat. Weimar: Life on the Edge of Catastrophe is BBC Radio 4's Book of the Week for a fortnight.Art historian John-Paul Stonard's new book is The Worst Exhibition in the World: Degenerate Art, 1937. The exhibition of Entartete Kunst ('degenerate art') was held in the Hofgarten arcade in Munich in the summer of 1937. Just a few weeks earlier, the same paintings and sculptures by modern German artists had been on display in some of the most prestigious museums in Germany. An extensive propaganda campaign of confiscation and defamation by the Nazis saw the condemnation of works by Jews, Bolsheviks and the enemies of the German Reich. It remains one of the most visited exhibitions ever - and it shaped views of modern art well into the second half of the twentieth century.Julia Boyd's There is Sweet Music Here: The World of Wigmore Hall tells the story of London's privately run music venue. During the Second World War it was possible for audiences to hear exiled German and Austrian Jewish musicians playing Beethoven among a wide range of recitals. Other concerts programmed included Entartete Musik (forbidden or so-called 'degenerate Music'), including the banned composer Gustav Mahler. Producer: Ruth Watts

SynopsisAs far as anniversary gifts go, the one Dutch conductor Willem Mengelberg received in 1920 was pretty spectacular. To celebrate his 25th year as Music Director of the Concertgebouw Orchestra in Amsterdam, they staged a special month-long festival in honor of one of Mengelberg's favorite composers — Gustav Mahler, the Austrian composer of monumental symphonies, who had, in fact, conducted the Concertgebouw several times before his untimely death at 50 in 1911.Mahler was the conductor Mengelberg admired most, and Mengelberg and his orchestra were ardent champions of Mahler's symphonies, too: their 1920 festival performed all nine of them over the course of two weeks that May. Mahler's widow Alma was in attendance, as were his younger Austrian contemporaries Arnold Schoenberg and Anton Webern, Danish composer Carl Nielsen and a young British conductor and Mahler fan named Adrian Boult, who reported on the festival for a British newspaper back home.In 1995, the Concertgebouw staged another Mahler Festival on the 75th anniversary of the 1920 one, this time inviting the Berlin Philharmonic and the Vienna Philharmonic to participate. A hundredth-anniversary festival was planned for May 2020, but the COVID pandemic forced that Mahler cycle to be postponed until May 2025. Good things come to all who wait.Music Played in Today's ProgramGustav Mahler (1860-1911): Symphony No. 1 (Titan); Royal Concertgebouw Orchestra; Riccardo Chailly, conductor; London/Decca 448813

The state Senate will vote Monday on a package of gun violence protection bills. It includes a ban on assault weapons and restrictions on ghost guns. More from supporters and opponents of the legislation that's been a central debate this session.It was decision day for many high school seniors this weekend, as they chose where they will be headed in the fall for college. Thousands of those students could get free tuition at Minnesota schools thanks to the North Star Promise program. A check in on the program ahead.And the Wild and the Wolves are starting the second round of their playoffs. It's the first time in Minnesota history that's happened. Our Minnesota Music Minute was a performance of Gustav Mahler's “ Symphony No. 5” by the Fargo-Moorhead Symphony.

durée : 00:11:15 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le chef d'orchestre Christoph Eschenbach et l'Orchestre du Festival de Verbier enregistrent la quatrième symphonie de Gustav Mahler, qui évoque la vision enfantine du paradis, un monde où l'innocence remplace la gravité. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:11:15 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le chef d'orchestre Christoph Eschenbach et l'Orchestre du Festival de Verbier enregistrent la quatrième symphonie de Gustav Mahler, qui évoque la vision enfantine du paradis, un monde où l'innocence remplace la gravité. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

C'est à Friedrich Nietzsche que les musiciens du Trio Zarathoustra ont choisi de se référer à travers le nom de leur ensemble. Des musiciens dont l'engagement artistique témoigne d'une grande profondeur. C'est ainsi que leur nouvel album, sorti sous le label Discover grâce au soutien du festival d'Auvers-sur-Oise, met à l'honneur des œuvres d'une intense force dramatique. Construit autour des deux trios de Dimitri Chostakovitch, ce programme inclut également le bref quatuor de jeunesse de Gustav Mahler et une création d'Elise Bertrand. Nous passerons un petit moment ce soir avec les trois membres du trio : le pianiste Théotime Gillot, le violoniste Thomas Briant et le violoncelliste Eliott Leridon. Ils nous éclaireront sur ce programme, sur leur démarche artistique et leurs projets à venir. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Als Kind in den 90er Jahren hat er liebend gerne am Computer gespielt – und dank der Musik dieser ersten grossen Videogames viel über Komposition gelernt. Aus dem kleinen Computernerd von damals ist der mehrfach Grammy-dekorierte Star Jon Batiste geworden. Im Musikmagazin erzählt er von seiner Faszination für Game-Musik, aber auch davon, wie wir Gefahr laufen uns in der Welt der Algorithmen selbst zu verlieren. 01:03 – Song of Storms & Talk Vor zwei Wochen hat Jon Batiste seine Interpretation einer Computerspiel-Melodie ins Netz gestellt – Song of Storms – und viel Aufmerksamkeit erregt damit. Im Talk erzählt er von seiner Faszination für die Game-Komponisten der 90er Jahre und davon, wie wichtig es ist, das innere Kind zu bewahren. 21:43 – Wochenrückblick Nachdem Markus Hinterhäuser gegangen ist, folgt Karin Bergmann als Interims-Intendantin der Salzburger Festspiele. Die deutsch-kolumbianische Dirigentin und Pianistin Anna Handler wird ab diesem Sommer Conductor in Residence bei den Los Angeles Philharmonic. Und wir gehen auf den Dancefloor: In der Ausstellung «No Time to Lose» des Nidwaldner Museums. 37:55 – Konzert-Tipp Das Zurich Jazz Orchestra lädt die Südkoreanische Sänger Song Yi Jeon ein – im Rahmen der «Female Composers Series» 40:38 – Neu auf meiner Playlist Die Komponistin Maria Schneider schreibt Musik, die uns allen wieder beibringen soll, zuzuhören. «American Crow» heisst ihr neuestes Werk: Anspruchsvolle aber auch heilsame Musik. 47:27 – Musikfrage Warum ist es so schwierig über Musik zu reden? Darüber hat sich der Autor Peter Kraut Gedanken gemacht. 52.08 – Mahler zum Schluss Das Basler Sinfonieorchester legt die erste Einspielung unter dem neuen Leiter Markus Porschner vor: Die 2.Sinfonie von Gustav Mahler.

New England's largest opera company finally has a place to call home. It's welcoming the public to its newly renovated performance and community studios in Fort Point with an intimate production of a work by Gustav Mahler.

Die Dirigentenlaufbahn des heute 25-jährigen Aurel Dawidiuk entwickelt sich gerade rasant. Seit 2024 ist er Gastdirigent des Concertgebouw Orchestra in Amsterdam. Zur Spielzeit 2026/27 tritt er die Nachfolge von Tung-Chieh Chuang als Generalmusikdirektor der Bochumer Symphoniker und Intendant des Anneliese Brost Musikforum Ruhr an. Am 6. und 7. März präsentieren Dirigent Aurel Dawidiuk und die Indie-Pop-Band JEREMIAS bei den Phil & Chill-Konzerten im NDR Konzerthaus Hannover das Beste aus zwei Welten. Zunächst steht die 1. Sinfonie von Gustav Mahler auf dem Programm, dann folgt ein besonderer Live-Act. Wie sich beide Konzertteile verbinden lassen, wie Aurel Dawidiuk über musikalische Grenzen denkt und wie man es schafft, eben auch junges Publikum für Klassik zu begeistern, darüber spricht der Pianist, Organist und Dirigent mit Beate Scheibe in NDR Kultur à la carte.

Beethoven, Dvorák und Bruckner sind von einem scheinbaren Fluch betroffen: Wer eine 9. Symphonie komponiert oder vollendet, der stirbt. Gustav Mahler meint das Muster zu erkennen - und hat panische Angst. Wie kann er das Schicksal austricksen?

In-Depth Interview: The Evolution and Future of Trumpet Music Join us in this captivating episode as we dive into the world of trumpet music with a seasoned expert. Starting with early memories linked to military life in Germany, the conversation traverses through a rich tapestry of musical history, focusing on pivotal works and notable composers like Gustav Mahler, Richard Strauss, and Victor Nessler. Discover the intricacies of composing and performing trumpet music from baroque to contemporary times, including the challenges and joys of premiering new compositions. Gain insights into the evolution of the trumpet repertoire and the unique experiences of balancing life as a soloist, teacher, and orchestral musician. 00:00 Introduction & Background 03:24 Blumine CD Project & Gustav Mahler 06:23 Richard Strauss Sonata & New Compositions 09:46 The Romantic Era & Trumpet Repertoire Gap 20:36 Teaching & Learning from Song 21:57 Beethoven & Historical Context 24:27 Mahler's Song Cycles 26:25 New Repertoire & Commissions 32:09 Approaching New Music 36:22 Edison Denisov Commission Story 46:24 Contemporary Music & Technique 56:27 Career Path: Orchestra & Solo Work 01:04:22 Teaching Philosophy & Students 01:07:23 Closing Thoughts

The story of Alexander von Zemlinsky's The Mermaid begins with a passionate love affair and ends in heartbreak of the most unabashedly big-R Romantic kind. In 1900, the young, fabulously talented, and famously beautiful Alma Schindler came to Zemlinsky's home to study composition. Wildly passionate feelings soon developed between them, and Alma wrote the following in her diary: "I would gladly be pregnant for him, gladly bear his children. His blood and mine, commingled: my beauty with his intellect. I would gladly serve him in his professional life, live for him and his kith and kin, breathe [for him], attend to his every happiness, serve him with a gentle hand. God give me the strength and the willpower to do so." The relationship lasted a little over a year, until one night when Schindler attended a party that happened to be frequented by a brilliant conductor and composer twenty years her senior: Gustav Mahler. The rest is history. Zemlinsky was devastated and poured his energies into a tone poem based on Hans Christian Andersen's The Little Mermaid. The source may seem surprising, but as we'll see later on, it proved to be the perfect vehicle for Zemlinsky to exorcise the tortured memories of this turbulent relationship. For a long time, however, the score was lost. It wasn't until the 1980s that the full work was reconstructed, and it has since become one of Zemlinsky's most frequently performed pieces. And it's not hard to see why. The Mermaid is a forty-minute tone poem that, from start to finish, overflows with fin-de-siècle romanticism, very much in the vein of Schoenberg's Verklärte Nacht (Transfigured Night). It is a work of irresistible beauty and passion, and it is being played more and more as Zemlinsky's name begins to take its rightful place in the standard canon of composers. Today on the show, I'll tell you a bit more about Zemlinsky in case you're not familiar with him, read more of the unbearably passionate letters and diary entries from both Zemlinsky and Alma Schindler, and, of course, walk you through the heartbreakingly beautiful music of The Mermaid, showing how Zemlinsky balances narrative and abstract form, and how he created this opulent, lush, and profoundly moving score. Join us!

The term "classical music" includes a wide variety of music and artists. This hour we take a look at what that category really means. We celebrate the form and help you figure out how to start listening to the genre. Plus, how video game music is bringing new listeners to classical music and live orchestras. GUESTS: Matthew Aucoin: American composer, conductor, writer, pianist, and a 2018 MacArthur Fellow. He is author of “The Impossible Art: Adventures in Opera” and is co-founder of the American Modern Opera Company. His opera “Euridyce” was produced by the Metropolitan Opera in 2021, making him the youngest composer in nearly a century to have an opera produced by The Met Arianna Warsaw-Fan Rauch: Author of “Declassified: A Low-Key Guide to the High-Strung World of Classical Music”. She is also a violinist who has performed in venues around the world Carolyn Kuan: Music Director of the Hartford Symphony Orchestra. In 2025, she led the acclaimed world premiere of Huang Ruo’s "The Monkey King" at San Francisco Opera. Her recording of Huang Ruo’s "An American Soldier" with the American Composers Orchestra received a 2026 Grammy nomination J. Aaron Hardwick: An internationally active professional conductor, professor of music at Wake Forest University, and Director of the Wake Forest University Symphony Orchestra, recognized for his work in classical and contemporary repertoire and innovative orchestral programming, including video game music MUSIC FEATURED (in order): Symphony No. 5 I. Trauermarsch – Gustav Mahler, Claudio Abbado, Berlin Philharmonic 21 Hungarian Dances No. 5 – Johannes Brahms, Claudio Abbado, Berlin Philharmonic Revolucion Diamantina Act IV: Speaking the unspeakable – Gabriela Ortiz, Gustavo Dudamel, LA Phil Don’t Look Down I. Hammerspace – Christopher Cerrone, Sandbox Percussion Symphony No. 41 “Jupiter” IV. Molto Allegro – W.A. Mozart, Seiji Ozawa, Mito Chamber Orchestra String Quartet No. 8 II. Allegro molto – Dmitri Shostakovich, Dover Quartet 6 Bagatelles for Wind Quintet III. Allegro grazioso – Gyorgy Ligeti, Claudio Abbado, Chamber Orchestra of Europe Overture to A Midsummer Night’s Dream – Felix Mendelssohn, Seiji Ozawa, Boston Symphony Orchestra An American Soldier Act II Scene 1: Hey Danny – Huang Ruo, Carolyn Kuan, American Composers' Orchestra Hi – Caroline Shaw CUT FOR TIME The Monkey King Act II Scene 3 – Huang Ruo, Carolyn Kuan, San Francisco Opera Tears of the Kingdom Main Theme – Manaka Kataoka Temple of Time Theme Montage – The Legend of Zelda NES (1986) Style – Loeder Music Ocarina of Time (1998) – Koji Kondo Breath of the Wild (2017) – Yasuaki Iwata Planetrise – Inon Zur (Starfield) Lumiere – Lorien Testard (Clair Obscur: Expedition 33) CUT FOR TIME Atsu’s Theme – Toma Otowa (Ghost of Yōtei) CUT FOR TIME The Perfect Wave – Austin Wintory Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Es sind die Werke eines jungen Mannes am Anfang einer großen Karriere, und sie weisen uns eindrucksvoll darauf hin, was später kommen wird. BR-KLASSIK hat mit Thomas Hampson über Gustav Mahlers "Gesellen"-Lieder gesprochen:

561 – Händel, politiek dier en geniaal musicus Zijn werken zijn al 300 jaar door en door politiek. De opera’s van Georg Friedrich Händel vertellen hoe heersers hun tijd en wereld domineren en hoe zij wijs, mild en rechtvaardig kunnen regeren. Maar ook hoe wreed, normloos en gewetenloos zij vaak zijn. Hoe ze mensen vertrappen, bedriegen en in het verderf storten. Dezer weken is Amsterdam Händel hoofdstad van Europa. Vooral ook door spectaculair optreden van een jonge wereldster die met Julius Caesar zo’n sluwe, wrede en machtige heerser vertolkt. Met deze Poolse countertenor, Jakub Józef Orliński, duiken Jaap Jansen en PG Kroeger in de vele lagen van de meeslepende muziek van Händel (1685 - 1759). In diens tijdloze actualiteit en virtuoze diepte van zijn mensenkennis. Zijn 'Giulio Cesare in Egitto' blijkt een soort kabinetsformatie van twee machtsdieren uit de Oudheid: Cleopatra en Caesar. Een van die cynische, nobele en wrede verhalen over hoe macht, intriges en gerechtigheid met elkaar strijden om de voorrang in het geopolitiek geweld. Net als nu. Hier. Vandaag. *** Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show! Steun Greenpeace voor gelijke bescherming, klimaatrechtvaardigheid en de toekomst van ons allemaal. Help met een donatie via: greenpeace.nl/betrouwbarebronnen Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend ons een mailtje en wij zoeken contact. By scrolling down, you will find a text in English. The conversation with Jakub Jozéf Orlínski starts at after about 36 minutes. *** Händel was een Europees fenomeen. Als jong musicus uit Halle in Saksen-Anhalt werd hij al bejubeld in Rome en Venetië. Hij reisde langs alle hoven en concertzalen en belandde in Londen, waar hij de beroemdste componist, organist én kunstpaus werd, ook die voor het koningshuis. Het koninklijk publiek verwachtte dan ook opera's met politieke boodschappen en portretten uit verhalen uit alle eeuwen en windstreken. En Händel leverde. Van stukken uit het oude Rome, Perzië, Mongolië en tot muziektheater dat speelt in de diepste middeleeuwen, aan de Olympus en vertelt uit ridderromans tijdens de Kruistochten. Jakub Józef Orliński levert niet minder. Hij vertelt over zijn visie op 'Cesare' als veroveraar en uitbuiter van het onmetelijk rijke Egypte. En als politiek, militair en amoureus veroveraar van Cleopatra. Die blijkt minstens zo'n politiek dier als hijzelf en heeft haar heel eigen agenda. In Händels beroemdste aria's en duetten ontdekken die twee in het Concertgebouw elkaars ambities, charmes, belangen en 'Wille zur Macht'. Ze sluiten een deal, alsof ze onderhandelen in Davos of Mar-a-Lago. Hij maakt haar Farao, in plaats van haar gemene broer. Zij baart hem de opvolger die hem ontbrak. Orlínski zong in januari bij de Nationale Opera nog een heel andere rol, die van de naïeve prins Athamas. Bij zijn feestelijke royal wedding slaan de wrede goden toe. Of zijn dat de spookbeelden van zijn bruid Semele? Is haar dromen van oppergod Jupiter als haar ware echtgenoot niet ook weer zo'n politiek fata morgana? Zo'n droom van tomeloze macht om te ontsnappen aan dit huwelijk? Desnoods een waaraan zijzelf en de brave Athamas ten onder gaan? Bij Händel draait het steeds weer om macht, wellust, sluwheid en de hoop op oprechte menselijkheid. Zijn opera's worden bevolkt door Poetins, Von der Leyens, Ruttes, Jettens en Wilders uit alle eeuwen. Orlínski droomt van sommige van die rollen voor zijn komende carrière, vertelt hij. Het gesprek met de Poolse barokster gaat over zijn avonturen op het wereldtoneel. De opening van de Olympiade in Parijs van 2024 bijvoorbeeld. Hoe was het om als verrassende breakdancer annex zanger twee miljard kijkers te veroveren, alsof hijzelf een Caesar van de muziek was? Wat maakt dat hij zo dol is op Amsterdam, maar niettemin één dagelijkse ergernis heeft? Orlínski blijkt een zanger die zijn vak buitengewoon professioneel uitdiept. "Ik heb wel zeven lange termijnprojecten voor mezelf en gezelschappen en operahuizen die ik zorgvuldig probeer uit te bouwen." Zo ontstond ook de tournee en straks in Warschau de opname van 'Giulio Cesare', een gedurfde stap. Maar hij noemt zich ook ‘een soort archeoloog’. Met zijn researcher speurt hij in archieven naar verloren gewaande muziek, opera's waarvan we alleen nog de naam kennen. Eén ontdekking van een vergeten stuk is zo'n toekomstproject dat hij hoopt te lanceren als nieuwe opera op het wereldrepertoire. Händels work is deeply political, already 300 years. Händels operas show how rulers dominate their age and world, how to be masters of wisdom, mildness and justice. But no less how cruel and merciless they can be, how they do not shrink to destroy people, fool and ruin them. These weeks Amsterdam is 'the George Frederic Handel capital of Europe'. Most of all thanks to the spectacular musical debut of a young global Baroque-star who will sing such a cunning, cruel and powerful ruler. Julius Caesar, no less. With worldwide recognized Polish countertenor, Jakub Józef Orliński, the hosts of the podcast 'Trusted Sources' look for the many layers of the fabulous music of Händel (1685 - 1759). His "Giulio Cesare in Eigtto' is an opera as a diplomatic summit of two political animals of the Ancient World, Cleopatra and Ceasar. A cynical, noble and cruel tale where power, intrigue and justice are combating for primacy in the geopolitical reality of the day. Like with us, now, here, in the present. Orlínski tells about his take on 'Cesare', the victor and exploiter of immensely rich Egypt. And the political, military and amorous conqueror of its Queen. Cleopatra proofs to be no less a political pro, having a cunning agenda of her own. In aria's and duets these two discover each others ambitions, interests, charms and ruthlessness. As if in Mar-a-Lago or in Davos they strike a deal in Amsterdams Concertgebouw. He makes her Pharao instead of her cruel brother, she bears him the dynastic successor he lacks. In the National Opera Jakub Józef Orliński also sings the naïve prince Athamas, whose exuberant 'Royal Wedding' is ruined by merciless 'divine intervention' of Jove, king of the Gods of Olympus. Is this real or a nightmare of his bride Semele? Is her dream of a God as Lover a way to escape, even as this destroys herself and Athamas' hope of love? Händels operas again and again adress the dilemmas of power, cruelty, lust, mercy and hope for humanity. They are filled with Putins, Melania's, Berlusconi's, Ursula von der Leyens, with you and me. Talking with Orlínski is sharing wonderful stories of his adventures on a world stage. His live role at the Olympics in Paris, watched by an audience of billions around the world. But getting soaking wet there while breakdancing through a French Renaissance aria. His bike in Amsterdam. His ambitions as "almost an archeologist of music", going through archives to dig up unknown diamonds of Baroque music, forgotten over 300 years. The young Pole is a deeply dedicated artist and we can only wish him to entrance audiences for many years with his focus on discoveries and a fresh approach to timeless art. *** Verder kijken Jakub Józef Orliński & Ensemble Fantasticus - Händel - Semele: Your Tuneful Voice | Podium Klassiek Jakub Józef Orliński - He Was Despised (Händel's Messiah) Jakub Józef Orlínski - Händel - Ombra mai fu Jakub Józef Orliński – Händel: "Pena tiranna" (Amadigi di Gaula) Jakub Józef Orlínski - Viens, Hymen - opening Olympische Spelen Parijs 2024 *** Verder luisteren 387 - Niets is zó politiek als opera - 100 jaar Maria Callas207 - Zomer 2021: Boekentips met Händel in London, the making of a genius43 - Kleine Mozart aan het Binnenhof in 1765346 - Beethoven: Alle Menschen werden Brüder!498 - Gustav Mahler en zijn tweede stad Amsterdam531 - Muziek en tirannie: de schrijnende actualiteit van Dmitri Sjostakovitsj 305 - Andrea Wulf, Hoe rebelse genieën eeuwen later nog ons denken, cultuur en politiek beïnvloeden488 - Het Congres van Wenen (1814-1815) als muzikaal feest én briljant machtsspel373 - Nederland en België: de scheiding die niemand wilde Hoe een opera België van Nederland afscheurde 200 - De Heerser: Machiavelli's lessen zijn nog altijd actueel*** Tijdlijn 00:00:00 – Deel 1: Georg Friedrich Händel 00:36:26 – Deel 2: Gesprek met Jakub Józef Orliński 01:07:05 – Deel 3: Gesprek met Jakub Józef Orliński 01:25:50 – Einde See omnystudio.com/listener for privacy information.

Chen Reiss gehört zu den international gefragtesten Opernsängerinnen. Als Sopranistin tritt sie in den großen Häusern der Welt auf, singt bei den bedeutendsten Festivals, hat Hauptrollen an der Bayerischen Staatsoper, dem Théâtre des Champs-Élysées, der Mailänder Scala, der Hamburgischen Staatsoper oder der Wiener Staatsoper gesungen. Ihr jüngstes Album "Jewish Vienna" hat sie zusammen mit Daniel Grossmann und dem Jewish Chamber Orchestra Munich bedeutenden Komponistinnen und Komponisten des 20. Jahrhunderts gewidmet. Darunter sind auch weniger bekannte Namen wie Josefine Winter, die 1943 von den Nazis ermordet wurde. Bevor Chen Reiss Ende März zusammen mit Sharon Kam und Yael Kareth mit Schumann, Mahler und Spohr in der Hamburger Elbphilharmonie auftritt, ist sie zu Gast bei NDR Kultur à la carte. Kurz vor dem 27. Januar, dem Tag des Gedenkens an die Opfer des Holocaust, spricht die israelische Sopranistin mit Friederike Westerhaus über Tradition und zeitgenössische Klänge in Musik und aktueller Gegenwart.

Literarisch-musikalisch-politische Betrachtungen zur ungeheuren Wirkung der Werke des im Jänner 1776 in Königsberg geborenen Dichters auf die Komponisten von Robert Schumann bis Gustav Mahler und die Moderne.

Here's a rare sampling of Countermelody favorite, the refulgent Czech contralto Věra Soukupová, in song repertoire, accompanied by both piano and full orchestra. The featured works are two song cycles of the so-called “late Romantic era,” one by Antonín Dvořák (his 1894 Biblical Songs), and one by Gustav Mahler, his 1901 Kindertotenlieder cycle. The Dvořák recording stems from 1967 and features Czech pianist Ivan Moravec; the Mahler is from 1963 and features the great Czech conductor (and Mahler specialist) Václav Neumann leading the Czech Philharmonic. The setlist includes two additional Mahler orchestral songs with Soukupová and Neumann as well as excerpts from Soukupová's 1976 recording of two song cycles by Robert Schumann, accompanied by Czech pianist Jan Horák. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Gustav Mahlers 9. Sinfonie ist Abschied und Aufbruch zugleich. Entstanden 1909, kurz vor seinem Tod, blickt sie existenziell auf Leben, Verlust und Vergänglichkeit. Zwischen tänzerischer Ironie, eruptiver Dramatik und dem entrückten Adagio-Finale entfaltet Mahler ein extremes Klangspektrum. In der Diskothek vergleichen wir prägende Aufnahmen und Interpretationen – und hören uns auch an, wie Mahler auf historischen Instrumenten der Zeit klingt. Gäste von Annelis Berger sind der Komponist David Philip Hefti und der Dirigent Manuel Oswald.

Het jaar eindigt, de winterkou slaat toe. Alle reden voor de jaarlijkse Winterboekenspecial! Jaap Jansen en PG Kroeger nemen je mee naar het jaar 750 in Aken en Bagdad, naar Londen in 1940, het jacht van Onassis in 1958, het Wenen van 1740, Nederland in het Europa van 1920, Oberstdorf in Beieren in 1933 en decennia van dissonanten in het Concertgebouw in Amsterdam. *** Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show! Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend ons een mailtje en wij zoeken contact. *** Eerste boek: 'Hoe de wereld veranderde rond het jaar 750' van Herman Kaptein (Walburg Pers, 293 p.) Een fascinerende vergelijkende historie van mondiale veranderingen in economie, cultuur, governance en technologie in de periode die wij in Europa 'de Karolingische renaissance' noemen. Maar de schrijver ziet analoge ontwikkelingen elders in de wereld, van het Midden-Oosten tot India, de Zijderoute en China. Cruciaal was het opbloeien van een schriftcultuur die grote invloed uitoefende op de wijze waarop de heersers van de toen opkomende imperia konden regeren. Wetgeving, documentatie van besluiten en regels, communicatie, rechtspraak en sociale en religieuze ordening werden rationele gemaakt door deze vast te leggen in formele geschriften. Het feit dat met de katholieke kerk en de Islam grote, gemeenschappelijke normenstelsels over de nieuwe imperia werden gespreid versterkte deze ontwikkeling nadrukkelijk. Karel de Grote beschikte door zijn steun aan de kloosterordes over een grote groep geletterde, multinationale adviseurs en bewindslieden die bovendien in heel zijn rijk in dezelfde taal met elkaar konden communiceren en discussiëren: het Latijn. In Bagdad gebeurde hetzelfde, maar vanuit de gemeenschappelijkheid van de Islam en de rol van de wetenschappers die daar bijeen kwamen uit heel de Levant, maar in het bijzonder ook vanuit Perzïë en India. Door hen werden wiskunde en astronomie op het hoogste niveau beoefend. Onze 'Arabische getallen' hebben via Bagdad hun oorsprong in het India van die jaren. Tweede boek: 'When Lions Roar' van Thomas Maier (Crown, 784 p.) Ook dit boek gaat over dynastieën op meerdere continenten. De families Churchill en Kennedy konden nauwelijks meer van elkaar verschillen in achtergrond, politieke opvattingen en familiegeschiedenis, maar werden als magneten tot elkaar aangetrokken. Conflicten, politieke heibel, spionage, zakelijke deals, vriendschappen en liefdesaffaires vullen dit boek over die 'brullende leeuwen'. En als derde hoofdpersoon op de achtergrond speelt president Franklin D. Roosevelt een cruciale rol. Verrassende figuren komen in het boek naar voren, zoals Pamela Digby die van geliefde schoondochter van Churchill uiteindelijk via allerlei affaires en huwelijken een van de invloedrijkste politieke fundraisers werd voor de Democraten in Amerika. Haar 'ontdekking' was Bill Clinton. En de Griekse reder Aristoteles Onassis was een vriend en reisgenoot van de oude Winston Churchill en op zijn jacht reisde niet alleen Maria Callas mee, maar ook het jonge echtpaar JFK en Jackie. Later zou zij hem trouwen. Derde boek: 'Maria Theresa - Empress' van Richard Bassett (Yale University Press, 520 p.) Nog een dynastie en persoonlijkheid van de buitencategorie. De Habsburgse keizerin Maria Theresa - zij regeerde van 1740 tot 1780 - was een van de machtigste en boeiendste vrouwen van haar tijd. Zij moest als 23-jarige letterlijk vechten om haar vader te kunnen opvolgen en zijn erflanden te regeren. Daartoe behoorden Oostenrijk, Hongarije, grote delen van de Balkan, Bohemen, Moravië en Silezië, grote delen van Noord-Italië en het huidige België. Maria Theresa overleefde die strijd met panache en werd een belangrijk hervormer van het bestuur, de wetgeving, economie en financiën en zeer in het bijzonder het onderwijs aan haar onderdanen. Een van haar opvallendste eigenschappen was haar bijna onfeilbaar oog voor talent. En daarbij was zij allesbehalve eenkennig. Zelfs een Hongaarse wees die haar als roeier opviel, protegeerde zij en liet hem zijn talenten ontdekken, waardoor hij een van haar belangrijkste raadsheren werd. Haar politieke gevoel deed haar aan het eind van haar leven grote zorgen hebben over de Amerikaanse revolutie tegen koning George III. Indringend waarschuwde zij haar dochter Marie Antoinette voor wat zij in Frankrijk zag opdoemen. Had zij maar beter naar haar moeder geluisterd. Vierde boek: 'De Groote Vrede' van Wim de Wagt (Boom, 446 p.) Na de val van dynastieën als de Habsburgers en Romanovs werd Europa in Versailles geheel heringedeeld. Dit leidde tot grote onrust over de toekomst van die nieuwe staten en hun oudere buren. Dat werd de bron van een golf van idealisme om in die toekomst een verenigd Europa te laten ontstaan. Juist vanuit het neutrale Nederland werden vele impulsen daaraan gegeven. Opmerkelijk was de rol van captains of industry die zo'n eenwording als de oplossing zagen voor de economische ravage die Versailles had veroorzaakt. Hendrik Colijn was de meest gezaghebbende vanuit die kringen en werd nimmer moe wereldwijd te pleiten voor een douane-unie, afschaffing van handelstarieven en de belemmeringen van de nieuwe grenzen op het Europese continent. Een hoofdpersoon in dit boek is de Franse staatsman Aristide Briand, die vurig werkte aan verzoening met de Duitsers en een soort Interne Markt probeerde te vormen als een Jacques Delors avant la lettre. Het idealisme en de inzet werden niet beloond. Autoritaire heersers en wraakgevoelens zouden Europa nog een tweede keer verwoesten, maar na 1945 werden de lessen uit dat eerdere ideaal concreet gemaakt. Vijfde boek: 'A Village in the Third Reich' van Julia Boyd (Pegasus, 412 p.) Dat stadje is Oberstdorf in het zuiden van Beieren. Klassiek Alpendorp van boeren en burgers, behoudend, rooms en gehecht aan tradities. Maar dankzij de wintersport ook economisch, cultureel en menselijk verbonden met heel Europa, vooral de rijke toeristen. Hoe het nationaalsocialisme in die gemeenschap doordrong, de dictatuur ging overheersen en angst en wegkijken domineerden wordt in menselijke lotgevallen zichtbaar. De mensen leerden bidden "Lieber Gott, mach mich stumm, daß ich nicht in Dachau kumm.' Het stadje was niettemin ook trots op de overwinningen van zijn bergjagers in de Wehrmacht, al kostte hun alpinistische stunt in de Kaukasus hen bijna het leven, omdat Hitler woedend was. In Oberstdorf poogde men de dictatuur te overleven door elkaar waar mogelijk te beschermen, ook de joodse dorpsgenoten. Een unieke rol speelde daarbij een Nederlandse gravin, die verbonden was aan Koningin Wilhelmina. Haar kindersanatorium werd een schuilplaats voor vervolgden. Zesde boek: 'Dissonanten in het Concertgebouw' van Albert van der Schoot (Noordboek, 560 p.) Politiek en Klassieke Muziek, de luisteraars van Betrouwbare Bronnen zijn wel vertrouwd geraakt aan de innige relaties tussen die twee. Dit boek zit vol fascinerend verhalen, momenten, figuren en incidenten in die kunsttempel van onze hoofdstad. Want het gebouw wordt vaak benut voor alle mogelijke manifestaties, die ook recent nog tot heftig gedoe aanleiding gaven. Een paar voorbeelden slechts: de communistische herdenking in 1924 van Lenin bij zijn dood of het 25-jarig jubileumfeest om paus Leo XIII, de man van Rerum Novarum, in 1903 te vieren. De manifestatie voor de 70e verjaardag van Domela Nieuwenhuis in 1916 en die van de NSB in zomer 1944 om ‘trouwbetuiging aan den Führer’ te tonen na de bomaanslag op zijn leven. Ook de muziek zelf kon politieke heftige controverses opleveren. Zo weigerde het rode koor Stem des Volks in 1934 het Wilhelmus te zingen en was er een epische ruzie met Cosima Wagner die de opera 'Parsifal' van haar echtgenoot weigerde te laten uitvoeren in Amsterdam. Stalin had het niet van een vreemde toen Dmitri Sjostakovitsj' opera hem in 1936 niet beviel! *** Verder luisteren Bij boek 1 203 - Karel de Grote. https://art19.com/shows/betrouwbare-bronnen/episodes/1f66b01c-d62a-44f3-98ba-5ef8684a81da 363 - Zomerboeken met Dan Jones over de globalisering in de Middeleeuwen https://art19.com/shows/betrouwbare-bronnen/episodes/d834c464-00ed-45f6-9018-6ab7f8536e29 262 - India in de geschiedenis https://art19.com/shows/betrouwbare-bronnen/episodes/8e738070-a079-4411-ab30-8546d29083fc 311 - De wereld volgens Simon Sebag Montefiore https://art19.com/shows/betrouwbare-bronnen/episodes/caaa9aac-ea36-4633-9460-74da8adf4c2f Bij boek 2 479 - Winston Churchill. Staatsman. Redenaar. Excentriekeling. https://art19.com/shows/betrouwbare-bronnen/episodes/e3d96569-9b20-4af8-8246-410bd9e121ae 32 - Churchill en Europa: biografen Andrew Roberts en Felix Klos https://art19.com/shows/betrouwbare-bronnen/episodes/72fbfe90-463b-4d38-bb87-fd0f25d8116d 303 - Bijzondere Britse premiers https://art19.com/shows/betrouwbare-bronnen/episodes/569c9e3d-2f7b-44cf-ae38-bd323c2ddafc Bij boek 3 437 - Hongarije mag een half jaar Europa voorzitten. Gaat dat wel goed? https://art19.com/shows/betrouwbare-bronnen/episodes/83ac74f7-1576-455b-9204-e79aa027291f 38 - Oostenrijk, Maria Theresa en Poetin https://art19.com/shows/betrouwbare-bronnen/episodes/29723a6e-6ec4-49ce-9354-07fdc118b9cb Bij boek 4 100 - Nederland in Europa: lusten en lasten door de eeuwen heen https://art19.com/shows/betrouwbare-bronnen/episodes/94ea4076-3118-4fe9-97e5-13b12f7a0355 34 - 140 jaar Anti-Revolutionaire Partij en Colijn https://art19.com/shows/betrouwbare-bronnen/episodes/2e71b88f-0513-4c5b-8726-3a231d47d6a7 107 - Jean Monnet, de vader van Europa https://art19.com/shows/betrouwbare-bronnen/episodes/cdf85c74-37e0-48a5-813f-aeda4b129e64 Bij boek 5 99 – Zomerboeken – oa Julia Boyd – Travellers in the Third Reich https://art19.com/shows/betrouwbare-bronnen/episodes/4ec7b064-5157-47d9-ad74-9edc7e92ed48 105 - Dagelijks leven in Nazi-Duitsland https://art19.com/shows/betrouwbare-bronnen/episodes/ad301f73-376f-4d97-b8c2-fb74f084db5e 322 - 30 januari 1933, een fatale dag voor Duitsland en de wereld https://art19.com/shows/betrouwbare-bronnen/episodes/943245ed-8640-4714-b3b1-d048e6e63ce5 113 - De Jaren '20 als wenkend perspectief https://art19.com/shows/betrouwbare-bronnen/episodes/8940f5b0-e098-4dbb-96f7-4a3f125b8017 Bij boek 6 387 - Niets is zó politiek als opera - 100 jaar Maria Callas https://art19.com/shows/betrouwbare-bronnen/episodes/cdff059b-3e0c-4a27-b04e-e1093b8250b2 394 – Honderd jaar na zijn dood: de schrijnende actualiteit van Lenin https://art19.com/shows/betrouwbare-bronnen/episodes/27f967ab-d2e5-496f-83bd-d5d3c1e26413 43 - Mozart op het Binnenhof https://art19.com/shows/betrouwbare-bronnen/episodes/2f944a46-f9bf-46cc-bba8-9f0edabde41c 346 - Alle Menschen werden Brüder! https://art19.com/shows/betrouwbare-bronnen/episodes/1c369825-dd76-463a-abd9-8d522f58e759 498 - Gustav Mahler en zijn tweede stad Amsterdam https://art19.com/shows/betrouwbare-bronnen/episodes/e7f7fa4f-c2db-484b-b3a3-c4a751034c23 531 - Muziek en tirannie: de schrijnende actualiteit van Dmitri Sjostakovitsj https://omny.fm/shows/betrouwbare-bronnen/531-muziek-en-tirannie-de-schrijnende-actualiteit-van-dmitri-sjostakovitsj *** Tijdlijn 00:00:00 – Deel 1 00:40:58 – Deel 2 01:13:16 – Deel 3 01:59:54 – EindeSee omnystudio.com/listener for privacy information.

Sie gilt als «Grande Dame der Klarinette»: Seit den frühen 1980er-Jahren prägt Sabine Meyer das internationale Konzertleben entscheidend mit, als Solistin wie als Kammermusikerin. Mit ihrem warmen Klang und ihrem grossen Gestaltungswillen hat sie dem Instrument weltweit zu mehr Sichtbarkeit verholfen und war für viele junge MusikerInnen ein grosses Vorbild. Im Dezember beendet sie nun ihre musikalische Karriere. Sabine Meyer hat viele Werke uraufgeführt, aber auch Mozarts Klarinettenkonzert auf der Bassettklarinette neu zum Leben erweckt, und sie hat gezeigt, welche Kraft und Vielseitigkeit in der Klarinette steckt. Gleichzeitig kennt sie den hohen Druck des Musikerinnenlebens: Disziplin, Erwartungshaltungen, die ständige Suche nach Perfektion. Umso wichtiger waren ihr Rückzugsorte abseits der Bühne – der Garten, die Pferde und vor allem ihre Familie. Diese Balance ermöglichte ihr, über so viele Jahre künstlerisch präsent zu bleiben und trotz enormem Erfolg nicht abzuheben. Sie ist ein Star ohne jegliche Allüren. Nun verabschiedet sie sich bewusst, «solange sie noch fit ist». Auf die Zeit danach freut sie sich sehr: keine anstrengenden Konzertreisen mehr, ohne Sorge im Garten arbeiten, schwimmen gehen und unbeschwert mit den Enkeln spielen. In «Musik für einen Gast» spricht Sabine Meyer über ihr Leben auf der Bühne, ihre Liebe zur Kammermusik, die Belastung von jährlich über hundert Konzerten – und darüber, wie befreiend es ist, sich künftig all dem widmen zu können, was neben der Klarinette immer zu kurz kam. Die Musiktitel: Der Einspieler: W.A.Mozart – Klarinettenkonzert – Sabine Meyer, Bassklarinette / Staatskapelle Dresden / Hans Volk, Dirigent 1. Benny Goodman & His Orchestra - Clarinet À La King 2. Heinz Holliger - Marin Marais: "Folies d'espagne" aus der Suite für Viola da gamba und Basso continue, Nr.1 d-Moll - Eigenaufnahme RTS Espace 2 (Genf, 2003) 3. Wolfgang Amadeus Mozart – Adagio für Glasharmonika C Dur (Bearbeitung für 3 Bassetthörner) Trio di Clarone (Reiner Wehrle / Wolfgang Meyer / Sabine Meyer) 4. Fatma Said – El helwa di (Das ist so süss ) (Komponist: Sayed Darwish) 5. Gustav Mahler – 7. Sinfonie, e-Moll: 2. Nachtmusik Lucerne Festival Orchestra / Riccardo Chailly, Leitung Eigenaufnahme SRF, Eröffnungskonzert 2024

Vorträgliche Glückwünsche zum Geburtstag gelten hierzulande mittlerweile als unüblich, in den 1920er Jahren war man diesbezüglich aber noch nicht so streng. Rainer Maria Rilke feierte seinen 50. erst am 4. Dezember 1925, die Hamburger Nachrichten gratulierten aber bereits am 29. November. Sein Laudator Hans Bethge war selbst Schriftsteller und vor allem für seine Nachdichtungen orientalischer Lyrik bekannt. Gustav Mahlers berühmtes Lied von der Erde geht auf Gedichte Bethges zurück, der, wie bekanntlich auch Rilke, teilweise im Worpsweder Künstlerkreis verkehrte. Dass er ein intimer Kenner von Rilkes Lyrik war, verrät sein Text allemal – obwohl man über die These, Rilke habe niemals ein Liebeslied gedichtet, gewiss trefflich streiten kann. Es liest Rosa Leu.

durée : 01:28:58 - Relax ! du vendredi 21 novembre 2025 - par : Lionel Esparza - Au menu, ce vendredi, les grands disques du mois d'octobre : le Trio Busch dans Beethoven - tout simplement génial, des sonates de Bach par le violoniste Ilya Gringolts et le claveciniste Francesco Corti, Gustav Mahler par Paavo Järvi, et le tout premier disque de la pianiste Anna Geniushene. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In the 1960s, Leonard Bernstein famously helped to popularize the music of a then relatively obscure composer, Gustav Mahler. His work, as well as the work of other conductors, made Mahler into a classical-music household name. Mahler's symphonies are played every year all over the world, and he is firmly ensconced in the so-called canon of standard orchestral repertoire. Would it surprise you to know that Franck's D Minor Symphony once had the same reputation? It was played almost every year by most major orchestras, it was recorded by all the great conductors, and it was a fixture of the canon just like a Brahms symphony. Nowadays you would be lucky if, outside of France and Belgium, you hear Franck's Symphony once every five years, if that. The truth is that, other than a short golden period for this symphony, it has either been controversial (around the time it was premiered) or ignored (nowadays), which is a real shame, since it is a glorious piece that I would argue is drastically underrated in our modern world. The symphony was radically innovative for its time, which probably explains some of the more virulent criticism it received, but even though those innovations now sound completely normal to our ears, they are still at the heart of what makes this symphony so profoundly satisfying to listen to. Ahead of my performances of the symphony in Lille this December, I wanted to dive in and explore this unfairly ignored masterpiece. In about 40 minutes of music in three grand movements, Franck pours his soul into this work. That phrase sounds a bit cliché, I know, but I really mean it; there is an earnestness about this music that I find deeply moving, and it is something we will explore together today. We will talk about Franck's late entry into the world of composition, his reputation as an organist, and the challenges he faced in finding acceptance as a composer. Along the way, we will discuss this gorgeous piece in all of its passion and intensity. Join us!

Was sind die größten Hits der klassischen Chormusik? Sie haben abgestimmt - nun stehen die Ergebnisse fest: von Bachs "Weihnachtsoratorium" bis Mendelssohn Bartholdys "Lobgesang". Hier können Sie Ihre Top Ten anhören.

This week, Stauney and Sadie delve into the life of Alma Mahler—composer, muse, and one of the most controversial women of early 20th-century Vienna. We explore how her relationships with towering figures like Gustav Mahler, Oskar Kokoschka, Walter Gropius, and Franz Werfel intertwined art, love, and obsession in ways that shaped her creative identity and public legacy. Beyond her reputation as a muse to geniuses, Alma's own musical compositions reveal a woman striving to define herself within the confines of a male-dominated world. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, Stauney and Sadie delve into the life of Alma Mahler—composer, muse, and one of the most controversial women of early 20th-century Vienna. We explore how her relationships with towering figures like Gustav Mahler, Oskar Kokoschka, Walter Gropius, and Franz Werfel intertwined art, love, and obsession in ways that shaped her creative identity and public legacy. Beyond her reputation as a muse to geniuses, Alma's own musical compositions reveal a woman striving to define herself within the confines of a male-dominated world. Learn more about your ad choices. Visit megaphone.fm/adchoices

Movie reviews #547 more 70's films we chuckin in the (Done) pile.1 (Heartbreak Kid 1972) Elaine May directs this strong movie, I just wouldn't, call it a comedy. We can all see in Jeannie Berlin's acting, that it is not funny how she is treated by said Heartbreak Kid.2 (The mad adventures of Rabbi Jacob 1973) This was a fake out for me, as it is not a movie about a Rabbi gettin into adventures, but instead it's about this goofy French guy, whom if memory serves, is a jerk. This one's zany and there's a vat of gum!3 (The Apprenticeship of Duddy Kravitz 1974). Richard Dreyfuss, French Actress Michelle Lancot, Randy Quaid, and the rad Bowling coach from the 1979 hit movie Dreamer star in this movie where ya wish old Duddy would seriously get his head out of his ass.4 (Mahler 1974) Jesus stars in this weird Ken Russell film about…………….Gustav Mahler. He looks back on his life while on a train.5 (Wrong Move 1975) I guess this Wim Wenders did a lot for German Cinema, good, but for me the Wrong Move is not watching (The Lost Honor of Katharina Blum) another German film that came out the same year.6 (Nickelodeon 1976) Here we have Ryan O'Neal, Burt Reynolds,Tatum O'Neal, and the Boss of Mr. French in this film about how 2 bumbling guys accidentally become some of the first American filmmakers ever. This is a Peter Bogdanovich film.7 (Lovey a circle of friends part II 1978) Jane Alexander and Timothy Hutton's Dad in Taps star in this important sequel to an important movie about how we deal with children with disabilities, not perfect, but at the time vital to show the world a better way than the medieval torture that came before. Medieval torture may not even be strong enough to describe the horrible ways people were treated in those institutions.Thanks for listening friends, let the people know there's been a 70's film podcast out there pluggin away for……about 7 years?

"Kein Werk ist ihm so unmittelbar aus dem Herzen geflossen. Die Sechste ist sein allerpersönlichstes Werk und ein prophetisches obendrein", sagte Alma Mahler über Gustav Mahlers 6. Symphonie. BR-KLASSIK stellt das Werk im Gespräch mit Simon Rattle vor.

durée : 00:15:31 - Le Disque classique du jour du lundi 29 septembre 2025 - Avec une grande profondeur émotionnelle, la mezzo-soprano Anna Lucia Richter interprète Des Knaben Wunderhorn Lieder et les Kindertotenlieder de Gustav Mahler - deux cycles qui éclairent le destin humain. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:31 - Le Disque classique du jour du lundi 29 septembre 2025 - Avec une grande profondeur émotionnelle, la mezzo-soprano Anna Lucia Richter interprète Des Knaben Wunderhorn Lieder et les Kindertotenlieder de Gustav Mahler - deux cycles qui éclairent le destin humain. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

SynopsisIn all, Polish composer Krzysztof Penderecki completed eight symphonies, and in 2013, to celebrate his 80th birthday, there appeared a box set of recordings billed as his “complete symphonies,” all conducted by their composer. But while that “complete” set included Symphonies Nos. 1-5 and 7&8, it was missing No. 6. The reason? Although Penderecki had begun work on his sixth symphony years earlier, it remained unfinished when the set was issued.Fast forward to today's date in 2017 for the out-of-sequence premiere of Penderecki's Symphony No. 6, given in China by the Guangzhou Symphony Orchestra. The venue was apt, since the symphony was subtitled Chinese Poems, and included settings for baritone and orchestra of eight ancient Chinese poems — with a Chinese instrument, the erhu, providing solo interludes.Curiously, Penderecki chose to set German translations of the Chinese poems, translations published back in 1907 in the same collection Gustav Mahler had sourced for his unnumbered song-symphony Das Lied von der Erde, the Song of the Earth. And it's probably no coincidence that Penderecki's Symphony No. 6 sounds very much like he was trying to channel both the spirit and sound world of Mahler's early 20th century song-symphony into own his 21st-century one.Music Played in Today's ProgramKrzysztof Penderecki (1933-2020): Symphony No. 6 (Chinese Poems); Stephan Genz, baritone; Polish Chamber Philharmonic Orchestra Sopot; Wojciech Rajski, conductor; Accord ACD-270

This Day in Legal History: Lord Haw-Haw SentencedOn September 19, 1945, William Joyce—infamously known as “Lord Haw-Haw”—was sentenced to death by a British court for high treason. Joyce had gained notoriety during World War II for broadcasting Nazi propaganda over German radio to British audiences, aiming to demoralize Allied troops and civilians. Born in Brooklyn, New York, and raised in the UK and Ireland, Joyce later became a naturalized German citizen and an enthusiastic supporter of Hitler. His broadcasts, delivered in a nasal, sneering voice, opened with the phrase “Germany calling,” and earned him the derisive nickname "Lord Haw-Haw" from British listeners.After the war, Joyce was captured by British forces in Germany and brought back to the UK to stand trial. Despite his German citizenship, the court ruled that he had committed treason because he had held a British passport when he began working for the Nazis. His legal defense argued that he owed no allegiance to Britain at the time of the broadcasts, but the court held that possession of the passport created a duty of allegiance. The case raised significant questions about the limits of national loyalty and the reach of British treason laws.On January 6, 1946, Joyce was executed by hanging at Wandsworth Prison, becoming one of the last people to be executed for treason in the UK. The trial and execution were controversial, with some legal scholars and public commentators questioning the soundness of the court's interpretation of allegiance. Nevertheless, the sentence was seen by many at the time as a necessary response to one of the most prominent domestic collaborators of the war.The National Institute for Occupational Safety and Health (NIOSH), long considered a cost-effective and critical pillar of U.S. workplace safety, has been effectively dismantled under the Trump administration's 2025 restructuring efforts. The agency, a division of the CDC responsible for certifying N95 masks, studying firefighter deaths, and leading occupational health research, saw roughly 90% of its 1,000 staff receive layoff notices on April 1. This move paralyzed core programs, from black lung screenings to PPE certifications, halting NIOSH's role as both a public safeguard and a quiet corporate consultant. The sudden cuts sparked chaos: lab animals were euthanized, crucial research was frozen, and businesses warned of safety gaps and market instability.Many affected workers have since resigned or are stuck on administrative leave, while others remain in limbo as lawsuits challenge the legality of the terminations. Despite statements from HHS Secretary Robert F. Kennedy Jr. claiming essential functions remain intact, internal confusion and partial walk-backs—like budget proposals still seeking to slash 80% of NIOSH funding—suggest deeper dismantling intentions. Business leaders, labor unions, and safety advocates have united in rare bipartisan pushback, warning of long-term risks to both worker health and industrial standards.The agency's downfall is part of a broader campaign to weaken the federal workforce, spearheaded by Project 2025 architects and executed with sweeping firings, anti-DEI mandates, and deep budget cuts across agencies. Former government scientists describe the collapse of safety infrastructure as a slow, invisible crisis—where the full damage may not emerge for years. With morale shattered and talent fleeing, the future of U.S. workplace safety research is in jeopardy.Trump Team Derailed Corporate America's Most Valuable ConsultantTwo major elements of President Donald Trump's economic agenda—his global tariffs and his attempt to remove Federal Reserve Governor Lisa Cook—are now in the hands of the U.S. Supreme Court, raising pivotal questions about the scope of presidential power. The court has agreed to hear a challenge to Trump's use of the International Emergency Economic Powers Act (IEEPA) to impose sweeping tariffs, a law traditionally used to sanction hostile foreign actors, not manage trade. Arguments are set for November 5. Separately, Trump is seeking to fire Cook, claiming misconduct; however, critics argue this is a pretext for targeting her policy views and that doing so violates the 1913 law establishing the Fed's independence.Legal scholars warn that siding with Trump in either case could dramatically expand executive authority. Trump has already tested legal boundaries across immigration, diversity, and civil service policy. While lower courts have often blocked his initiatives, the Supreme Court—now with a 6-3 conservative majority including three Trump appointees—has frequently sided with him. The Cook case raises unprecedented constitutional questions, as no president has ever removed a Fed governor.Meanwhile, Trump's tariff actions have destabilized global trade relations and spurred economic uncertainty, though his allies argue they are central to his economic strategy. A decision favoring Trump in both cases could weaken institutional checks on executive power and erode the principle of independent monetary policy.Key parts of Trump's economic agenda now in Supreme Court's hands | ReutersIn Washington, D.C., immigrant neighborhoods like Mount Pleasant, Petworth, and Columbia Heights are pushing back against a surge in Immigration and Customs Enforcement (ICE) arrests under President Donald Trump's intensified immigration enforcement campaign. Local residents have begun organizing in real-time—using chat groups and in-person protests—to disrupt ICE detentions, including a recent case where bystanders successfully pressured officers to release a Guatemalan man. These actions reflect growing distrust and fear within largely Latino communities, where residents report increased racial profiling and aggressive policing.The Trump administration's recent declaration of a “crime emergency” in D.C., coupled with the federalization of local police and a heightened ICE presence, has heightened tensions, especially in areas with deep immigrant roots. Community members and advocacy groups say people are being targeted based on appearance or location, not criminal history. Businesses that once bustled with immigrant patrons are seeing sharp declines in foot traffic, as many residents now avoid public spaces out of fear.Federal officials defend the enforcement as targeting serious offenders, but critics point out that many arrests involve individuals without criminal records. A Supreme Court ruling this month has further enabled ICE to continue race- or location-based arrests. Meanwhile, residents like Yessica Gonzalez and Nelvin Rodriguez say the climate of fear is unlike anything they've previously experienced. The increased enforcement has not only disrupted lives but also strained local economies and community trust.Washington's immigrant neighborhoods push back against ICE arrests | ReutersThe U.S. Senate has confirmed John Squires, a veteran intellectual property attorney and former Goldman Sachs executive, as the new head of the U.S. Patent and Trademark Office (USPTO) under President Donald Trump. Squires takes over at a critical time, as the agency grapples with global competition from China and emerging legal challenges surrounding artificial intelligence in the patent process. His appointment follows a broad push by Senate Republicans to confirm a slate of Trump nominees despite Democratic opposition.Squires brings a deep background in both corporate and legal arenas, having worked on IP and tech issues at firms like Honeywell and most recently at Dilworth Paxson, where he focused on AI, blockchain, and cybersecurity. He has also taught at the University of Pennsylvania. His predecessor, Kathi Vidal, led the USPTO during the Biden administration and returned to private practice following Trump's 2024 election victory.The USPTO plays a vital role in the American innovation ecosystem, handling patent and trademark applications and advising the government on intellectual property policy. The agency's Patent Trial and Appeal Board frequently mediates high-stakes disputes over patent validity, especially in the tech sector. Squires steps into the role amid heightened political scrutiny, including a controversial Commerce Department order to review patents held by Harvard University as part of a broader White House campaign linked to campus antisemitism concerns.US Senate confirms Trump's pick to run US Patent and Trademark Office | ReutersThis week's closing theme is by Gustav Mahler.This week's closing theme comes from one of the most enigmatic works in the orchestral repertoire: Mahler's Symphony No. 7, specifically its haunting first movement, Langsam – Allegro risoluto, ma non troppo. Composed between 1904 and 1905 and premiered on September 19, 1908, this symphony marks a fascinating midpoint in Mahler's artistic evolution—bridging the lush Romanticism of his earlier works with the more fractured, modernist terrain of his later symphonies.The first movement opens with a dark, slow introduction featuring the eerie voice of the tenor horn, an instrument rarely heard in symphonic writing. Its strange, searching call sets a tone of unease, as if the music is emerging from shadow. What follows is a restless march full of contrasts—grim fanfares, lyrical episodes, and bursts of uneasy energy—all presented with Mahler's characteristic sense of orchestral color and irony.Unlike the more spiritual or pastoral moods of Mahler's other symphonies, the Seventh is often described as "problematic," even "nightmarish"—a label Mahler himself rejected. He referred to the symphony as a progression “from night into day,” and this opening movement represents the beginning of that journey: turbulent, disoriented, and shot through with moments of beauty and menace.Mahler's orchestration here is dense and highly detailed, often requiring massive forces and unconventional instruments. Yet beneath its complexity lies a deep emotional current—one that shifts rapidly from the grotesque to the sublime. The movement ends not with resolution but with a kind of defiant uncertainty, a theme Mahler would continue to explore in his final works.As our closing theme this week, Langsam – Allegro reminds us that the path through darkness is rarely straightforward—and that art, like life, often resists tidy interpretation.Without further ado, Gustav Mahler's Langsam – Allegro risoluto, ma non troppo– 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

Sasha Cooke is the 2x Grammy winning mezzo-soprano superstar opera singer. She's been called a “luminous standout” by The NY Times. She's had performances with the Metropolitan Opera, the San Francisco Opera and others, and with over 90 symphony orchestras worldwide, frequently singing the works of Gustav Mahler. She is also the co-director of the vocal program at the Music Academy of the West. And she's related to "Bungalow Bill" of Beatles fame!My featured song is my reimagined version of The Who's “I Can't Explain” from the album Trippin by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SASHA:www.sashacooke.com—----------------------------------------ROBERT'S NEWEST SINGLE:“SUNDAY SLIDE” is Robert's newest single. It's been called “A fun, upbeat, you-gotta-move song”. Featuring 3 World Class guest artists: Laurence Juber on guitar (Wings with Paul McCartney), Paul Hanson on bassoon (Bela Fleck), and Eamon McLoughlin on violin (Grand Ole Opry band).CLICK HERE FOR ALL LINKSCLICK HERE FOR THE OFFICIAL VIDEO—-------------------------------------------ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Tick-borne diseases on the rise, Cosmas anniversary highlights lack of modern-day chroniclers, Gustav Mahler and the Bohemian-Moravian Highlands

Alexander Briger, directeur artistique et chef d'orchestre de l'Australian World Orchestra nous parle des prochains concerts de Gustav Mahler, les Symphonies n°4 et 5, au Hamer Hall de Melbourne et à l'Opéra House de Sydney.

Die Rückkehr der Sommerfrische – Der Begriff „Sommerfrische“ war lange in Vergessenheit geraten. Man verbindet ihn mit Müßiggang, Etikette und reichen Stadtbewohnern aus einer früheren Zeit. Auf Social Media ist das Wort jetzt wieder im Trend.

Gustavo Dudamel is a Venezuelan conductor, violinist and composer. He is known for bringing humour and joy to the podium. He is currently director of the Los Angeles Philharmonic and the Simon Bolivar Symphony Orchestra and in 2026 will take up the post of music director of the New York Philharmonic, following in the footsteps of Gustav Mahler and Leonard Bernstein. Gustavo was born in Barquisimeto, Venezuela in 1981, the son of a trombonist who played in a salsa band, and his mother who was a singing teacher. Growing up in a musical household, young Gustavo used to gather his toys together and put them on the floor in the shape of an orchestra, put a record on and conduct.His parents enrolled five year old Gustavo in the El Sistema music programme and he learned the violin. After showing a flair for conducting he eventually became the conductor of the Venezuelan National Youth Orchestra. After winning the Gustav Mahler Conducting Competition in Germany in 2004, his talent was spotted on a global stage. He was appointed the director of the Los Angeles Philharmonic in 2008. Presenter Lauren Laverne Producer Sarah Taylor