Podcast appearances and mentions of Hans Richter

Teràpia centrifugada amb escuma de rentadora. Crítica teatral de l'obra «L'origen del món», de Lucia Calamaro. Traducció: Carles Fernández Giua. Intèrprets: Queralt Casasayas, Alicia González Laá i Annabel Totusaus. Espai escènic: Sebastià Brosa i Laura Martínez Pi. Il·luminació: Lluís Serra. Espai sonor: Sergi Andrades. Caracterització: Perruqueria Santos. Figurinisme: Nídia Tusal. Construcció d’escenografia: Andreu Mateo (Art Coolers) i Jorba Miró. Confecció de vestuari: Consol Díaz. Ajudantia de direcció i regidoria: Isabelle Bres. Ajudantia de producció: Tíndari Sgró. Fotografia: Felipe Mena. Agraïments: Hans Richter, SMEG. Equip Teatre Akadèmia: Direcció artística: Guido Torlonia. Gerència i cap de producció: Meri Notario. Cap de premsa i assistència a la direcció artística: Fernando Solla. Màrqueting i comunicació: Oscar Mata. Comunicació i públics: Vinyet Vila. Cap tècnic: Lluís Serra. Tècnic auxiliar: Víctor Castro. Taquilla: Xavi Gómez. Community Manager: Eladi Bonastre. Direcció: Guido Torlonia. Teatre Akadèmia. Barcelona, 13 desembre 2024. Veu: Andreu Sotorra. Música: Dimesticheze d'amor. Interpetació: Gianmaria Testa. Composiciño: Gianmaria Testa. Àlbum: Prezioso, 2019.

Der vielfach ausgezeichnete Dirigent Hans Richter ist seit Jahrzehnten international tätig. Die Musik hat ihn von klein auf begleitet – ebenso wie das Erbe seines berühmten Urgroßvaters, nach dem er auch benannt ist: Hans Richter, der Urgroßvater, war einst Wiener Hofopern-Kapellmeister und legendärer Uraufführungsdirigent von Richard Wagners "Der Ring des Nibelungen" in Bayreuth. In welcher Form das Schaffen seines Urgroßvaters ihn begleitet und was es braucht, um ein guter Dirigent zu sein, darüber hat Hans Richter mit Marlene Groihofer für die Lebenswege gesprochen. 

Der vielfach ausgezeichnete Dirigent Hans Richter ist seit Jahrzehnten international tätig. Die Musik hat ihn von klein auf begleitet – ebenso wie das Erbe seines berühmten Urgroßvaters, nach dem er auch benannt ist: Hans Richter, der Urgroßvater, war einst Wiener Hofopern-Kapellmeister und legendärer Uraufführungsdirigent von Richard Wagners "Der Ring des Nibelungen" in Bayreuth. In welcher Form das Schaffen seines Urgroßvaters ihn begleitet und was es braucht, um ein guter Dirigent zu sein, darüber hat Hans Richter mit Marlene Groihofer für die Lebenswege gesprochen. 

The Power of Omega-3: Transforming Inflammation and Health with Dr. Hans RichterIn this enlightening episode of the Medical Entrepreneur Podcast, Dr. Hans Richter shares his extensive journey from being a scientist in corporate America to becoming a passionate practitioner of Chinese medicine. Dr. Richter discusses how Chinese herbs and acupuncture transformed his health, leading him to delve deeper into natural therapies. The centerpiece of the conversation is his profound focus on Omega-3 fatty acids and their critical role in reducing inflammation and preventing chronic diseases. Dr. Richter explains the importance of the Omega-6 to Omega-3 ratio, the challenges of finding non-rancid Omega-3 supplements, and his recommendations for effective products. He also shares insights on his book 'Nourish and Flourish: Fat That Fuels Us' and how physicians can integrate these findings into their practices to offer a holistic approach to patient care.00:00 Introduction and Personal Journey00:53 Guest Introduction: Dr. Hans Richter01:14 Discovering Chinese Medicine02:38 Critique of the Pharmaceutical Industry04:03 Integrating Modern and Traditional Medicine04:49 The Importance of Omega-307:45 Understanding Omega-3 Deficiency09:17 Challenges with Omega-3 Supplements10:39 The Role of Omega-3 in Reducing Inflammation11:52 Testing and Measuring Omega-3 Levels16:35 Impact of Omega-3 on Health29:32 Practical Advice for Physicians30:11 Evaluating Omega-3 Testing Options31:43 Symptoms of Omega-6 to Omega-3 Imbalance33:08 Inflammation and Arachidonic Acid33:54 Omega-3's Role in Pregnancy and Brain Development34:42 Choosing the Right Omega-3 Supplements36:46 Personal Experiences and Athletic Performance41:52 Challenges in Long-Term Omega-3 Supplementation49:51 Physician Training and Inflammatory Markers52:28 Conclusion and Final Thoughts

Donald Macleod explores the life and music of Charles Villiers Stanford. With Jeremy DibbleMarking the centenary of his death, Composer of the Week explores the remarkable life and music of Sir Charles Villiers Stanford. Stanford was one of the leading musicians of his generation and, along with Parry and Mackenzie, he was one of the main protagonists in Britain's musical renaissance at the end of the 19th century. Born in Dublin, Stanford rose to the very top of the British music scene, as both a conductor and composer. He also maintained strong links to Germany, following his studies in Leipzig and Berlin. Stanford's works were popular in Europe, as well as Britain, with conductors such as Hans Richter promoting his music. Today, Stanford is largely remembered for his sacred works, however his prolific output covers most genres and he had a particular passion for opera. He was an influential teacher at the Royal College of Music and Cambridge University; many future musical luminaries passed through his classes, including Gustav Holst, Ralph Vaughan Williams, Rebecca Clarke and Samuel Coleridge-Taylor. Stanford was a tremendous force for good in British music, and in honour of his contribution to British culture, his ashes are interred in Westminster Abbey close to the remains of Henry Purcell. This week, Donald Macleod is joined by Stanford biographer, Jeremy Dibble to explore Stanford life and music.Music Featured:The Bluebird, Op 119 No 3 (excerpt) Three Intermezzi, Op 13 No 1 (Allegretto scherzando) The Resurrection, Op 5 Symphony No 1 (Scherzo) The Veiled Prophet (Act 2 Love Duet) Service in B flat major, Op 10 (Magnificat) Symphony No 2 ‘Elegiac' (Lento espressivo) To the Rose, Op 19 No 3 Piano Trio No 1, Op 35 (Allegretto con moto) Elegiac Ode, Op 21 (The night, in silence, under many a star) The Lord is my Shepherd Symphony No 3, Op 28 “Irish” (Allegro molto Vivace) Piano Quintet in D minor, Op 25 (Allegro risoluto) A Child's Garland of Songs, Op 30 No 9 (My ship and me) The Clown's Song from Twelfth Night', Op 65 No 3 Six Irish Fantasies, Op 54 No 3 (Jig) Symphony No 5, Op 56 ‘L'Allegro ed il Pensieroso' (Andante molto tranquillo) Shamus O'Brien, Op 61 (Act 2 Captain Trevor's Song) Requiem, Op 63 (Agnus Dei et Lux aeterna) Te Deum, Op 66 (Judex crederis) Ten Dances, Old and New, Op 58 No 1 (Valse) Songs of the Sea, Op 91 No 3 (Devon, O Devon, in wind and rain) Magnificat in G, Op 81 String Quartet No 4 in G minor, Op 99 (Allegro molto vivace) Stabat Mater, Op 96 (Virgo virginum praeclara) String Quintet No 2 in C minor, Op 86 (Andante) A Song of Hope, Op 113 No 3 Six Songs from ‘The Glens of Antrim', Op 174 No 2 (The sailor man) String Quartet No 7 in C minor, Op 166 (Allegro molto) Irish Rhapsody No 4, Op 141 (The Fisherman of Loch Neagh and What he Saw) An Irish Idyll in Six Miniatures, Op 77 No 2 (The Fairy Lough) Mass Via Victrix, Op 173 (Agnus Dei) How beauteous are their feetPresented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and 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 Charles Villiers Stanford (1852-1924) https://www.bbc.co.uk/programmes/m001xdr0And 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

“It's possible to be a feminist and a Freudian...” In this week's TANK Podcast, Holly Stevenson and Rosie Gibbens discuss Hans Richter's seminal surrealist masterpiece Dreams that Money Can Buy, a dreamy and deeply strange dadaist romp directed by some of the luminaries of the 1940s avant garde.

Hela 60-75% av alla Företagsvärv och fusioner misslyckas – men varför är det så svårt och vad är de största misstagen som begås? I det här avsnittet av HRpodden träffar vi Birgitta Landin Almhagen – personalvetare och ekonom med erfarenhet av ledande befattningar inom Electrolux och Eriksson, som har varit med i många företagsförvärv genom åren. Hans Richter är ekonom med stor erfarenhet i ledande positioner. Tillsammans har de båda skrivit boken – ”att lyckas med förvärv och fusioner” och delar med sig av sina kunskaper. HRnytt-poddens programledare är Hanna Bergfäldt, konsult på FEM HR. I podden intervjuar Hanna aktuella personer, ledare, HR chefer och andra som kan ge oss insikt, kunskap, inspiration inom HR området.https://www.femhr.se/ Hosted on Acast. See acast.com/privacy for more information.

Lange rang Bruckner um die Achte. Sein Wunschdirigent Hermann Levi rümpfte die Nase über das Werk. Drei Jahre verbrachte der Komponist mit Überarbeitungen, geplagt von Depressionen. 1892 wird die Uraufführung in Wien mit Hans Richter am Pult schließlich doch noch zum Triumph. Von Christoph Vratz.

In this episode, we review one of the first avant garde machinima pieces created by the community.  The film is called 9, by German machinimator Claus-Dieter Schulz, has been restored by Phil and is re-presented on his Machiniplex Remastered channel. It is a notable example of modernist cinema which moves towards abstraction and it is clear to see that Claus-Dieter was inspired by the likes of Oskar Fischinger, Hans Richter and Stan Brakhage.  There were very few in the early days of machinima that turned in this creative direction, where most creators were instead inspired to devise original stories inspired by popular films, TV series, commercials and products, so our discussion reflects on this point as well as the early reactions to the work we recall.Speakers: Phil Rice, Ricky Grove, Tracy Harwood, Damien ValentineProducer: Phil RiceEditor: Ricky GroveMusic: Anno Domini Beats

Anton Bruckner's Symphony No. 8 in C minor, WAB 108, is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 at the Musikverein, Vienna. It is dedicated to the Emperor Franz Joseph I of Austria.This symphony is sometimes nicknamed The Apocalyptic, but this was not a name Bruckner gave to the work himself.Gertrude Heinz, conductorCMD German Opera Company of BerlinHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Synopsis Today's date marks the 1953 New York premiere of a musical movie that flopped when it debuted but has since become a cult classic – and for two very good reasons.First, the movie's script – written by Dr. Seuss – was about a little boy named Bart who didn't enjoy practicing the piano and who was worried that his widowed mom might marry his dreaded piano teacher. The film, entitled “The 5,000 Fingers of Dr. T,” is cast as Bart's dream – or nightmare – with surreal scenarios as only Dr. Seuss could imagine them. Second, the film boasted a score by Frederick Hollander, a composer of droll Berlin cabaret songs who found a welcome home in Hollywood. For “The 5,000 Fingers of Dr. T,” Hollander crafted witty songs and an extravagant instrumental sequence for a whacky Seussian ballet.Despite all that, The New York Times reviewer was bored: “a ponderously literate affair,” he wrote. The film did have its fans, however, and one was a little boy who DID like to practice the piano – singer and pianist Michael J. Feinstein, who lovingly gathered together all of Hollander's used and unused music for the movie for a limited edition CD-set released in 2010. Music Played in Today's Program Friedrich Hollaender (1896-1976) br>5000 Fingers of Dr. T filmscore studio orchestra On This Day Births 1717 - Baptismal date of Bohemian violinist and composer Johann Wenzel Anton Stamitz, in Nemecký Brod (Deutsch-Brod, now Havlíckuv Brod); 1842 - Austrian operetta composer Carl Zeller, in St. Peter in der Au; 1854 - Italian opera composer Alfredo Catalani, in Lucca; Deaths 1915 - Russian composer Sergei Taneyev, age 58, in Dyud'kovo, near Zvenigorod (Julian date: June 6); Premieres 1899 - Elgar: "Enigma Variations," in London, Queen's Hall, Hallé Orchestra conducted by Hans Richter; 1915 - Saint-Saëns: choral work, "Hail California," in San Francisco, composer conducting; 1926 - Antheil: "Ballet Mécanique," in Paris; 1984 - Bernstein: opera "A Quiet Place" (revised version), by La Scala Opera, John Mauceri conducting; The first version of this opera premiered at Houston Grand Opera on June 17, 1983, conducted by John DeMain. Others 1869 - final concert of a five-day "Great National Peace Jubilee" involving an orchestra of 1000 and a chorus of 10,000 organized by bandmaster Patrick Gilmore performing in a specially-constructed hall in Boston's Back Bay; Links and Resources On Friedrich Hollaender Original 1953 movie trailer for "Dr. T" More on the film

Trump är tydligen på väg till New York något man delade med följande opera tema... Nibelungens ring ("Ringen", även Nibelungenringen) (tyska: Der Ring des Nibelungen) är en tysk operatetralogi av Richard Wagner baserad på det sydtyska eposet Nibelungensången och material från den nordiska mytologin, i synnerhet Völsungasagan och den Poetiska Eddan. Enligt Wagner är detta en scenfest för tre dagar och en inledande kväll, och det händer att man spelar alla fyra operorna fyra kvällar i rad. Den sammanlagda speltiden (exklusive pauser) är mellan 14 och 16 timmar. Enkom den sista, Ragnarök, kan ta upp till fem timmar att framföra. Första kompletta uppsättningen av ringen skedde den 13, 14, 16, 17 augusti 1876 i Bayreuth under musikalisk ledning av Hans Richter. Svensk premiär av hela cykeln på Kungliga Operan i Stockholm skedde den 14-20 mars 1907. De fyra operorna som ingår är: Rhenguldet (Das Rheingold, premiär den 22 september 1869 i München, svensk premiär på Kungliga Operan i Stockholm den 26 oktober 1901.) * Prolog – härskarringen skapas och förbannas. * Valkyrian (Die Walküre, premiär den 26 juni 1870 i München, svensk premiär på Kungliga Operan i Stockholm den 7 november 1895.) * Siegfried avlas av syskonen Siegmund och Sieglinde. Brünnhilde sövs ner omringad av eld. * Siegfried (Siegfried, premiär den 16 augusti 1876 i Bayreuth, svensk premiär på Kungliga Operan i Stockholm den 11 december 1905. * Siegfried växer upp, erövrar ringen och uppväcker Brünnhilde. * Ragnarök (Götterdämmerung, premiär den 17 augusti 1876 i Bayreuth, svensk premiär på Kungliga Operan i Stockholm den 28 februari 1907). * Kampen om ringen fortsätter – Siegfried dödas och Brünnhilde återbördar ringen till naturen. Det är dags nu att betala... #CarlNorberg #DeFria De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

DescriptionOn 21 October 1898, Edward Elgar returned to his wife and their home in Malvern after a long day teaching. He finished dinner, lit a cigar and sat down at the piano to doodle.  Hence his Enigma Variations was born. Take a minute to get the scoop!Listen to: Edward Elgar - Enigma Variations, Op.36: IX. (Nimrod)Queensland Symphony Orchestra ℅ YouTubeFun FactThe first performance, conducted in London by Hans Richter, took place on 19 June 1899 in a concert that concluded with Mozart's ‘Prague' Symphony. It was not until 13 September in Worcester, however, that the Variations were heard in their final form after Elgar had added a further 100 bars to the end of “E.D.U.” to make a more powerful conclusion.__________________________________________________________________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.

Am 25. März ist der frühere Ausnahmestürmer Hans Richter im Alter von nur 63 Jahren gestorben. Von 1983 bis 1987 wirbelte er in der DDR-Oberliga, dem FDGB-Pokal und im Europacup für den 1. FC Lok Leipzig. Wir werden dich nicht vergessen! Deshalb begrüßen die Moderatoren Thomas Franzky und Marko Hofmann zu Beginn der Sendung Erfolgstrainer Hans-Ulrich „Ulli“ Thomale, der drei Jahre lang mit Hans Richter beim FCL gearbeitet hat. Ebenfalls zu Gast ist René Schmidt, der 1993/94 als „Dachdecker der Bundesliga“ für unseren Ersten Deutschen Meister in der Fußball-Eliteklasse auflief. Inzwischen hat er den Hut bei der Traditionsmannschaft des 1. FC Lok auf und koordiniert die Aktivitäten der kickenden Probstheidaer Legenden aus den vergangenen gut 40 Jahren. Zum Abschluss kommt Torhüter und Kopfballungeheuer Niclas Müller zu Wort. Mit seinem sehr späten Ausgleich in Grimma ebnete der 21-Jährige den Weg ins Sachsenpokal-Halbfinale. Diese 70 Minuten lohnen sich wieder sehr! Schaltet ein! Anregungen, Kritik und (vor allem) Lob zu LokCast könnt ihr gern jederzeit an diese E-Mail-Adresse richten: lokruf-radio@t-online.de

Als Elgar seine erste Sinfonie schreibt, ist er schon 50 Jahre alt und gilt als bedeutendster lebender britischer Komponist mit Professur und Adelstitel. Dirigenten aus ganz Europa feiern das Meisterwerk der Spätromantik. Dabei kommt der Komponist ursprünglich aus einfachen Verhältnissen. (Autor: Christoph Vratz und Michael Lohse) Von Christoph Vratz.

Synopsis Tchaikovsky's Violin Concerto was first performed on today's date in 1881. The premiere took place in Vienna with Adolf Brodsky the violin soloist and the Vienna Philharmonic led by Hans Richter. It was not a big hit. The next day, the conservative Viennese critic Eduard Hanslick wrote: "The violin is no longer played: it is tugged about, torn, beaten black and blue." According to Hanslick, the concerto's finale (quote): "transports us to the brutal and wretched jollity of a Russian festival. We see gross and savage faces, hear crude curses, and smell the booze... Tchaikovsky's Concerto confronts us for the first time with the hideous idea that there may be musical compositions whose stink one can hear." Ouch! Tchaikovsky's score survived the bad review, but a more recent American work suffered a far unkinder cut. The original film score for the 1968 blockbuster movie, "2001: A Space Odyssey" was written by Alex North, who was born in Chester, Pennsylvania on today's date in 1910. Director Stanley Kubrick hired North to write the music for "2001," but Kubrick ultimately decided to use pre-recorded classical and contemporary music instead. When North attended the New York premiere of "2001," he was devastated that not one minute of the music he had written was included in the final edit. Believe it or not, no one had informed him in advance! Music Played in Today's Program Peter Tchaikovsky (1840-1893) Violin Concerto, Op. 35 Itzhak Perlman, violin; London Symphony; Alfred Wallenstein, conductor. Chesky 12 Alex North (1910-1991) Unused "Opening Theme," for 2001: A Space Odyssey National Philharmonic; Jerry Goldsmith, conductor. Varese Sarabande 66225

Artist and director Ulrike Ottinger presents her recollections of living and working in Paris in the 1960s. Paris Calligrammes: that's not exactly a movie title that would pique everyone's curiosity. It's written and directed by an experimental visual artist and filmmaker named Ulrike Ottinger. I can assure you that she doesn't take appealing to a mass audience into consideration. She makes films for herself and others who are interested in art and creativity for their own sake. Ottinger, who turned 80 this year, tells of her experiences in Paris as a young artist, from the time she left her provincial German town in 1962 at age 20, her car breaking down on the way, after which she hitchhiked to the city. She accompanies her narration with a wealth of footage from home movies, newsreels, TV excerpts, still photos, fiction films, and film of life in Paris today. Different sections highlight different aspects of her Paris experience. She starts with her discovery of the Librairie Calligrammes, a store specializing in German books owned by Fritz Picard, a Jewish German exile. The word “Calligrammes” was taken from a poem by Guillame Apollinaire, who defines it as a text that creates an image with its letters. By using this word as part of the film's title, Ottinger is signaling the same artistic purpose of creating an image in the mind through her narration. Anyway, she discovered this German language book store, and the owner, Picard, opened a door for her to a world of intellectual émigrés, including Hans Richter, Paul Celan, and Walter Mehring, that was centered on Dada and Surrealist art and literature. We see an interview with Picard, and hear Mehring recite a masterful poem mourning the deaths of German artists who resisted fascism. This one section is so full of interesting people and stories that I thought this might be the whole movie. But it's a film of many parts, and although it runs only a little over two hours, it's brimming with so much incident and detail that I can only marvel that Ottinger has managed to fit it all in. Other sections cover her friends among the city's avant-garde visual artists, neighborhoods in which she lived, the vital film scene clustered around Henri Langlois' Cinémathèque Française, Ottinger's own progression as an artist influenced by the Dada and Pop Art movements, the left wing politics that pulled Paris intellectuals together in the late ‘60s (and then pushed them apart), and much more. Ottinger was always openly lesbian, and that reality is taken as an assumed basis here, one of the aspects of her life that informs her work. I found myself stopping the film at times (the great advantage we have in our video era!) to make notes about the film's numerous anecdotes, remarks, and insights. Ottinger doesn't try to attain an illusory comprehensiveness, but just by talking about her own experience, her own world, she provides a sense of the excitement and ferment of that time that I've never seen equaled. I would say that this picture is an example of the diary or notebook form within what I call non-fiction film. The word “documentary” is really tired out now, and fails to do justice to the variety we witness in films that are not narrative or dramatic stories. Ottinger uses archival material with an eye towards what you haven't seen before, avoiding the kind of stock photo montage that we encounter in straight “objective” histories. There's a lot to take in, and I felt intellectually and emotionally enriched after watching it.

Emma visita dos de los cuadros que Ursula pintó en el sanatorio. Para ello se cita en Basilea con Cristina, una trabajadora de uno de los museos de la ciudad. Con ayuda de Cristina, Emma comienza a comienza a comprender lo que Ursula parecía tratar de representar con sus pinturas.Para más información visita:https://MySwitzerland.com/BLUMBlum es una ficción sonora de El Extraordinario, creada, escrita y dirigida por Carmen Pacheco y Manuel Bartual.En este capítulo intervienen Vicky Luengo, Jacinto Bobo, Nikki García, Anahí Di Santo, Hans Richter, Kaspar Simmen y Ralph Bleissner.Diseño de sonido de Ignacio Cantisano y Andreu Quesada. Música original de Van Delay. Producción de Marina Alonso-Carriazo y Mar Abad. Producción ejecutiva de Mar Abad y Marina Alonso-Carriazo.

Anton Bruckner's Symphony No. 4 in E-flat major, WAB 104, is one of the composer's most popular works. It was written in 1874 and revised several times through 1888. It was dedicated to Prince Konstantin of Hohenlohe-Schillingsfürst. It was premiered in 1881 by Hans Richter in Vienna to great acclaim.The symphony's nickname of Romantic was used by the composer himself. This was at the height of the Romantic movement in the arts as depicted, amongst others, in the operas Lohengrin and Siegfried of Richard Wagner.According to Albert Speer, the symphony was performed before the fall of Berlin, in a concert on 12 April 1945. Speer chose the symphony as a signal that the Nazis were about to lose the war.Wagner: Prelude to Act 1 of LohengrinBrucker: Symphony No. 4 in E-flat Major, WAB 104 "Romantic"Purchase the music (without talk) at:Bruckner: Symphony No. 4 in E-flat Major (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.

Synopsis There are several examples in the catalog of German Romantic composer Johannes Brahms, of works that emerged from his pen in contrasting pairs. The most famous being his two concert overtures: the comic and upbeat “Academic Festival Overture,” and the dark, stoic pessimism of his “Tragic Overture.” While composing the jaunty Academic Festival Overture in 1880, to acknowledge an Honorary Doctorate he had received the previous year from the University of Breslau, Brahms felt compelled to write a more serious companion piece. To his friend the publisher Simrock, he wrote: "I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy," To another friend, Carl Reinecke, he wrote, "One weeps, the other laughs." Hans Richter conducted the premiere of the “Tragic” Overture in Vienna on today's date in 1880, and the following month Brahms himself led the premiere of his “Academic Festival” Overture in Breslau. And the new works soon came to the New World: On November 12, 1881, the enterprising Theodore Thomas conducted the New York Philharmonic in the American premiere of the “Tragic” Overture, and one week later, the “Academic Festival” Overture as well with the Brooklyn Philharmonic. Music Played in Today's Program Johannes Brahms (1833–1897) — Academic Festival Overture, Op. 80 (New York Philharmonic; Kurt Masur, cond.) Teldec 77291 Johannes Brahms — Tragic Overture, Op. 81 (Vienna Symphony; Wolfgang Sawallisch, cond.) Philips 438 760

durée : 01:57:50 - Relax ! du mercredi 24 novembre 2021 - par : Lionel Esparza - Aujourd'hui dans Relax!, portrait du chef d'orchestre austro-hongrois Hans Richter. Et en disque de légende, nous écoutons "Musique du Dauphin" de Luys de Narváez, par le guitariste Pablo Márquez. - réalisé par : Antoine Courtin

For this episode, we are taking a deep dive into Omega's and their importance in your health. Dr. Hans Richter leads this discussion and touches on: How fats are the source of life Why fats are important Membrane proteins Using fats to regulate inflammation and more. Enjoy!

Elgars berühmtes Orchesterwerk steckt voller Geheimnisse. In jeder Variation porträtiert der britische Komponist jemand aus dem Bekanntenkreis. Außerdem soll dem halbstündigen Werk ein zweites Thema zugrundeliegen, das man bis heute nicht gefunden hat. Die kraftvolle Musik voll magischer Klänge kann man auch so genießen. (Autor: Christoph Vratz)

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79The Symphony No. 3 in F major, Op. 90, is a symphony by Johannes #Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Symphony No. 2. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures, and Piano Concerto No. 2. The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. It is the shortest of Brahms' four symphonies; a typical performance lasts between 30 and 40 minutes.Wikipedia

A cura di Massimiliano SamsaSergei Rachmaninoff (1873 - 1943) - Youth Symphony, in re minore (1891)Grave - Allegro molto Royal Concertgebouw OrchestraVladimir Ashkenazy, direttore**********Max Bruch (1838 - 1920) - Concerto per violino n° 2, Op. 44 (1878)1. Adagio, ma non troppo2. Recitative: Allegro moderato (14:55)3. Finale: Allegro molto (19:27)London Symphony OrchestraLydia Mordkovitch, violin Richard Hickox, direttore*********Antonín Dvořák (1841-1904) - The Water Goblin Op.107Czech Philharmonic OrchestraSir Charles Mackerras, direttore“Il folletto d'acqua” è uno dei cinque poemi sinfonici di Antonín Dvořák ispirati alle ballate della raccolta Kytice del poeta Karel Jaromír Erben.Nella leggenda il Vodník non ha sembianze mostruose, raccoglie le anime delle persone che annegano, in particolare bambini e giovani che decidono di fare il bagno a mezzanotte; di certo è una figura richiamata dalle madri per ammonire i propri bambini.Come molti poemi di Erben, anche questo assume connotazioni truci; la musica di Dvořák segue con precisione la narrativa e la forma di rondò rende ancora più evidente la continua riapparizione minacciosa del folletto.Il malvagio folletto affamato è in attesa in riva al lago; è un venerdì e una ragazza, ignorando l'avvertimento di sua madre, inizia a fare il bucato; cade in acqua, viene rapita, portata nel castello subacqueo e diventa sua sposa. La giovane canta una ninna nanna al loro primogenito, ma il folletto ne é infastidito; lei cerca di calmarlo e lo supplica di farla andare da sua madre almeno per un giorno. Il Vodník dapprima rifiuta, poi acconsente a tre condizioni: non deve abbracciare nemmeno un'anima, compresa la madre; deve lasciare il bambino nel castello e deve fare ritorno prima che suonino i vespri. Il Vodník attende invano e dopo i rintocchi delle campane le ordina furibondo di tornare da lui; al suo rifiuto scatena la sua rabbia sul bambino, lo uccide e, furente, lo scaglia davanti alla casa della madre. Quando aprono l'uscio, le due donne scorgono sulla soglia la piccola testa staccata dal corpicino.Il primo giugno 1896, in un concerto al Conservatorio di Praga diretto da Antonín Bennewit, si esegue un'anteprima del poema sinfonico; la presentazione ufficiale al pubblico ha luogo a Vienna il 22 novembre 1896, l'Orchestra Filarmonica è diretta da Hans Richter. Al critico musicale Robert Hirschfeld, incaricato di scrivere le note al programma, Antonín Dvořák invia una lettera nella quale descrive le soluzioni adottate per tradurre in musica il poema di Erben.•Allegro vivace: Il folletto da solo (flauti).•Andante sostenuto: La madre (violini) racconta alla ragazza (clarinetto) il suo brutto sogno e l'avverte di non avvicinarsi al lago.•Allegro vivo: La giovinetta ignora l'ammonizione della madre (violini e oboi) e cade nel lago, preda del folletto dell'acqua.•Andante mesto come prima: Il miserabile mondo sottomarino.•Un poco più lento e molto tranquillo: La ragazza canta una ninna nanna per il suo bambino (flauto e oboe).•Andante: Il folletto, furioso, le intima di smettere di cantare; dopo un litigio concede alla ragazza di andare a trovare sua madre, ma deve tornare prima che le campane chiamino per il vespro.•Lento assai: La ragazza torna a casa da sua madre (violoncelli e tromboni); incontro dominato da profonda tristezza.•Allegro vivace: Tempesta sul lago, suonano le campane della chiesa; si ode poi una violenta esplosione quando quando il folletto lancia il bambino morto contro la porta.•Andante sostenuto: gracidio di rane (ottavino e flauti) profezia di disastri; il gemito della madre che ricorda quel triste e sfortunato venerdì (corno inglese e clarinetto basso), la terribile angoscia della madre (oboi, violoncelli e contrabbassi). La misteriosa scomparsa del folletto d'acqua nelle profondità del lago.Testo tratto da: https://diesisebemolle.wordpress.com/2018/08/14/dvorak-il-folletto-dacqua/

A cura di Massimiliano SamsaLa puntata di questa sera è dedicata interamente a Antonin Dvoràk (1841 - 1904).La Serenata per archi op. 22 fu scritta nel 1875 in soli 12 giorni. Quello fu un anno speciale per il compositore ceco: il governo austriaco infatti, grazie ad una commissione di cui erano membri fra gli altri il critico Eduard Hanslick e Johanncs Brahms gli concesse una borsa di studio che costituì per Dvorak il vero e proprio trampolino di lancio verso i più importanti circoli musicali europei. Nessuno dei membri della commissione lo conosceva personalmente, ma, come raccontò lo stesso Hanslick più tardi, essi rimasero colpiti da quel talento straordinario. E in seguito fu proprio Brahms a raccomandare Dvorak al prestigioso editore Simrock, presso il quale uscirono tutte le sue opere principali.La prima esecuzione della Serenata era stata prevista per la fine del 1875 a Vienna sotto la direzione del celebre direttore Hans Richter (con il quale Dvorak intesse una preziosa amicizia) ma alcuni inconvenienti costrinsero a rimandarla all'anno seguente a Praga sotto la direzione di un'altra celebre bacchetta, Adolf Cech. Ripartita in cinque movimenti in forma di suite, la Serenata op. 22 è un brano di intensa carica melodica e di grande fascino.Le nove Sinfonie sono il punto d'incontro del Dvorak popolare e del Dvorak educato alla tradizione tedesca, in quanto la ricca invenzione melodica s'unisce alla riflessione su come fosse possibile, dopo Beethoven e Schubert e accanto a Brahms, espandere la Sinfonia oltre le regole convenzionali. La Sinfonia n. 7 in re minore op. 70 (fino ad alcuni anni fa indicata come n. 2: quest'oscillazione dipende dal fatto che quattro Sinfonie giovanili sono state riscoperte solo in tempi recenti) ha un carattere equilibrato, compatto e austero, che si potrebbe definire brahmsiano: in effetti pare che il successo della Terza Sinfonia di Brahms avesse fatto nascere in Dvorak - la cui notorietà era allora legata al successo delle Danze slave - il desiderio di dimostrare di non essere inferiore al grande maestro tedesco, nei cui confronti provava ammirazione e amicizia. Diretta dallo stesso Dvorak a Londra nel 1885, questa Sinfonia ebbe un immediato successo, tuttavia fu poi eclissata dalla celeberrima Sinfonia "Dal Nuovo Mondo". Ingiustamente, perché è una delle Sinfonie più mature e profonde del compositore boemo.Sitografia:https://www.flaminioonline.it/Guide/Dvorak/Dvorak-Serenata22.htmlhttps://www.flaminioonline.it/Guide/Dvorak/Dvorak-Sinfonia7.htmlAntonin Dvoràk (1841 - 1904) - Serenata per archi in mi maggiore, op. 22 (B. 52)I. ModeratoII. Menuetto: Allegro con moto - TrioIII. Scherzo: VivaceIV. LarghettoV. Finale: Allegro vivaceAntonin Dvoràk (1841 - 1904) - Sinfonia n. 7 in re minore, op. 70 (B. 141)I. Allegro maestosoII. Poco adagioIII. Scherzo: Vivace - Poco meno mossoIV. Finale: Allegro

Michael Ihringer unterhält sich mit Ulrich Sommer und Hans Richter von Theater Curioso über die neue Produktion „Chaim & Adolf“. Die amüsante und vor allem spannende Schachpartie im Wirtshaus bringt manches ans Tageslicht, was alle in der Umgebung wussten, aber bisher betulich verschwiegen haben. Zu sehen ab dem 23.10. im Theater Moller Haus.

Michael Ihringer unterhält sich mit Ulrich Sommer und Hans Richter von Theater Curioso über die neue Produktion "Chaim & Adolf". Die amüsante und vor allem spannende Schachpartie im Wirtshaus bringt manches ans Tageslicht, was alle in der Umgebung wussten, aber bisher betulich verschwiegen haben. Zu sehen ab dem 23.10. im Theater Moller Haus.

bauhaus.film.digitally.expanded | ExpertInnengespräch [17.05.2020] moderiert von Teresa Retzer. In dieser Live-Diskussion der Reihe »bauhaus.film.digitally.expanded« unterhalten sich Markus Heltschl, Eva Krivanec, Claudia Reiche, Rolf Sachsse und Thomas Tode über das »Neue Sehen« am Bauhaus. Das Gespräch wird moderiert von Teresa Retzer. Diese Stilrichtung, die ursprünglich aus der Fotografie stammt, etablierte sich in den 1920er-Jahren. Die neuen Methoden des Neuen Sehens wollten bildhistorisch festgefahrene Darstellungsformen aufbrechen. Die AnhängerInnen des Neuen Sehens wollten insbesondere den konventionellen Umgang mit der Komposition, mit Licht und Dunkel, sowie bewegten und unbewegten Bildelementen in der Fotografie umdenken und erneuern. Sie wünschten sich lebhaftere und dynamischere Bilder, in denen sich der gesellschaftliche und technologische Fortschritt dieser Zeit widerspiegelte. Unter anderen vertraten Ellen Auerbach, Ella Bergmann-Michel, Erich Consemüller, Horacio Coppola, Andreas Feininger, Lucia Moholy, László Moholy-Nagy, Umbo, Walter Peterhans, Albert Renger-Patzsch, Alexander Michailowitsch Rodtschenko, Peter Pewas, Hans Richter und Grete Stern die Herangehensweisen des Neuen Sehens oder wurden durch die Stilrichtung massgeblich beeinflusst.

bauhaus.film.digitally.expanded | ExpertInnengespräch [07.05.2020] moderiert von Teresa Retzer. »Die Idee war ganz einfach – daß jeweils nur eine einzige Fläche (Quadrat oder Rechteck) auf der Leinwand sichtbar sein sollte, die streng taktmäßig entweder steht oder sich bewegt.« (Werner Graeff, 1922) Die FilmkünstlerInnen am Bauhaus beschäftigten sich bereits seit den frühen 1920er-Jahren mit abstrakten Filmen. Es entstanden filmische Partituren für Formen- und Farbenspiele, teils spielerisch, teils radikal formal, teils poetisch. Neueste Erkenntnisse belegen, dass auch die Bauhaus-Studentinnen Lore Leudesdorff und Ré Soupault (geb. Erna Niemeyer) an zentralen Filmen der deutschen Filmavantgarde als Autorinnen mitwirkten. Bei einigen der »Absoluten Filme« von Walter Ruttmann und Hans Richter leisteten sie grundlegende Schritte in der Produktion. Sie waren für die Zeichnungen, die Bildrhythmen, das Bedienen der Trickkamera und die Handkolorierungen in der Filmherstellung zuständig. Die zentrale Idee des Bauhauses war es, nicht »l’art pour l’art« zu praktizieren, sondern Kunst und Erkenntnisse für möglichst viele Menschen zu schaffen. Der Entwicklung verschiedenster Industrieprodukte am Bauhaus gingen Recherche- und praktische Forschungsarbeiten voran. Viele der abstrakten Filme erforschen wie sich bewegte geometrische Körper im Raum verhalten. In den Filmen werden unzählige Bewegungsmöglichkeiten von Formen in unterschiedlichen Richtungen und aus verschiedenen Perspektiven systematisch durchdekliniert. Den größten Gegensatz zum abstrakten Film am Bauhaus stellen die Gebrauchs- und Werbefilme dar, da sie nicht direkt künstlerische Zwecke verfolgen. Die Werbefilme von Leudesdorff und Ruttmann weisen sowohl abstrakte als auch gegenständliche Elemente auf und spiegeln ihr besonderes Interesse am ästhetischen Formenvokabular der Moderne wider. In Alfred Ehrhardts Kulturfilmen ist die Prägung durch das Bauhaus deutlich erkennbar. Sie beschäftigen sich mit Abstraktion, Archaik, Urform, Oberflächenstruktur, Ornamentik, Rhythmus, Polyphonie und Serialität. Die abstrakten Filme »Komposition I/1922« und »Komposition II/1922« von Werner Graeff beziehen sich auf die reine Betrachtung der Form im Raum. Ähnlich wie die Bauhäusler Kurt Kranz und Kurt Schwerdtfeger realisierte Graeff die Filme erst nachträglich an der Werkkunstschule Folkwang. Seine schwarz-weiße Komposition entstand im Jahr 1959 und die farbige Version erst 1977.

bauhaus.film.digitally.expanded | ExpertInnengespräch [26.04.2020] moderiert von Teresa Retzer. Peter Weibel und Markus Heltschl unterhalten sich live über den berühmten abstrakten Film »Symphonie Diagonale« (1924/1925) von Viking Eggeling. Anhand von Filmbeispielen und Vergleichen zwischen verschiedenen Versionen des Films geht Markus Heltschl der Frage nach, ob die in allen Kinematheken der Welt gespielte Version die historisch richtige Fassung des berühmten abstrakten Films »Symphonie Diagonale« von Viking Eggeling ist. Denn der Vergleich mit den Entwürfen Eggelings zeigt, dass die Figuren im Film auf dem Kopf stehen. Verkehrt herum eingeschnittene Sequenzen würden aber auch bedeuten, dass diese in der falschen Laufrichtung und somit rückwärts ablaufen. Wie konnte es zu diesen Differenzen kommen? Zur Premiere des Films 1925 in Berlin erschien Eggeling aus gesundheitlichen Gründen nicht. Eggeling starb nur wenige Tage darauf und der Film verblieb in den Händen von Hans Richter. Ist die heutige Fassung authentisch oder ein Fake?

Hörspiel nach dem Theaterstück von Thornton Wilder I Alltag in einer kleinen Provinzstadt in Neuengland. Hier leben die Webbs und Gibbs, der Zeitungsjunge, der Polizist, der Milchmann, der Leichenbestatter. Sie repräsentieren mit ihren ganz gewöhnlichen Existenzen die Grund-Koordinaten des Lebens: Liebe, Abschied, Tod. Helmut Käutner bearbeitete und inszenierte im Oktober 1945 Thornton Wilders berühmtes Theaterstück bei "Radio Hamburg", dem Sender der englischen Besatzungsmacht. Es entstand eines der ersten Nachkriegshörspiele überhaupt. Das Stück wurde damals "live" in einem einzigen Spielverlauf aufgezeichnet. I Mit Hans Mahnke, Charlotte Kramm-Maerten, Harry Meyen, Fritz Wagner, Ida Ehre, Helmut Kröger, Hans Richter, Erich Weiher, Wolf Beneckendorff, Erwin Geschonneck, Erna Nitter, Harald Philipp, Adalbert Kriwat, Gertrude Berry, Wolfgang Arps, Kurt Fuß, Dagmar Altrichter I Bearbeitung und Regie: Helmut Käutner I Produktion: NWDR 1945 I https://ndr.de/radiokunst

Donald Macleod explores the life, music and perseverance of Antonín Dvořák. Antonín Dvořák was no spring chicken when he found success as a composer. He was in his early thirties before he made his mark in his native Czech Republic, despite composing from a young age. Donald Macleod follows Dvořák as he attempts to win over successive audiences: from Prague to Vienna, England to America, before eventually returning to Prague and to the opera stage. Who did he need to impress in order to achieve the success he craved? Donald Macleod introduces us to Dvořák as he struggles to carve his path as a composer. We’ll meet his influential friends who championed his work, including Brahms, the conductor Hans Richter and the virtuoso violinist Joseph Joachim. Dvořák’s ambition eventually took him to America, but as well as inspiring many of his best-known works, found him embroiled in arguments about the nature of American music and struggling with homesickness. Donald considers what drove Dvořák to tirelessly persevere, particularly with the operatic genre, when his other works were so well received by audiences at home and abroad. Music featured: Slavonic Dances, Op 46 (Dumka) In Nature’s Realm, Op 91 Symphony No 3 in E flat major, Op 10 Písně Milostné, Op 83 Serenade, Op 44 Piano Trio in F minor, Op 65 Moravian Duets, Op 32 (How small the field of Slavíkov is & Water and Tears) Symphonic Variations, Op 78 String Quartet No 10 in E flat major, Op 51 Violin Concerto in A minor, Op 53 Czech Suite, Op 39 Stabat Mater, Op 58 Svatá Ludmila, Op 71 Symphony No 8 in G major, Op 88 Requiem, Op 89 (Hostias) Piano Trio in E minor, Op 90 (Dumky) Cello Concerto in B minor, Op 104 Violin Sonatina in G, Op 100 Biblical Songs, op 99 String Quartet No 12 in F major, Op 96 (American) Symphony No 9, Op 95 (From the New World) Vanda (Overture) The King and the Charcoal Burner (Act 11, scene 7) Dimitrij (Act 4, scene 3) The Noon Witch, Op 196 Rusalka (Act 3) Presented by Donald Macleod Produced by Cerian Arianrhod for BBC Wales For full tracklistings, 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 Antonín Dvořák https://www.bbc.co.uk/programmes/m0009zxh 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

Documentary filmmaker and City College professor Dave Davidson discusses his latest film, Cinema and Sanctuary, and CCNY as the first documentary film school in the US, led by German avant-garde artist Hans Richter during the 1940s.

Anton Bruckner's Symphony No. 8 in C minor is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 in Vienna. It is dedicated to Emperor Franz Joseph I of Austria. This symphony is sometimes nicknamed The Apocalyptic, but this was not a name Bruckner gave to the work himself. Conducted by Sylvia Wagner CMD German Opera Company of Berlin Orchestra Purchase the music (without talk) at: http://www.classicalsavings.com/store/p683/Bruckner%3A_Symphony_No._8_in_C_minor%2C_WAB_108_%281887_version%29.html 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

Comedians Phill Jupitus and Robin Ince talk to Harriett Gilbert about books they love. Phill's is Dada: Art and Anti-Art by Hans Richter, the founder of the punk art movement. Robin's is Soviet-era science fiction: Roadside Picnic by Arkady and Boris Strugatsky, the book on which Andrei Tarkovsky's film Stalker was based. Lastly, Harriett introduces them to a dark and compelling new crime novel in which the protagonists are children: Dodgers by Bill Beverly. Producer Beth O'Dea.

The Museum is dead, long live the museum. Towada Art Center (where Rafael has a show) http://towadaartcenter.com/en/ Japanese bullet trains https://www.google.ca/search?q=japanese+bullet+trains&rlz=1C5CHFA_enCA727CA728&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjpuNnCuaDZAhUG04MKHf_mDi0Q_AUICigB&biw=1280&bih=659 Bilbao Guggenheim https://www.guggenheim.org/about-us Stedelijk Museum https://www.stedelijk.nl/en Art Gallery of Ontario https://ago.ca/ Abstract Expressionism film (Hans Richter) https://www.youtube.com/watch?v=b972EQOOEoY MCA Chicago https://mcachicago.org/ The Hirschhorn https://hirshhorn.si.edu/ MOMA https://www.moma.org/ Maurizio Cattelan show at the Guggenheim https://www.guggenheim.org/exhibition/maurizio-cattelan-all Met David Hockney https://www.metmuseum.org/exhibitions/listings/2017/david-hockney Tate Modern http://www.tate.org.uk/visit/tate-modern Carolee Schneemann at moma PS1 https://www.nytimes.com/2018/02/01/arts/design/carolee-schneemann-moma-ps1-art-performance.html The Useless Web http://www.theuselessweb.com/ Dis.art http://dis.art/ DiModa (Museum in VR) https://dimoda.art/ Andreas Angelidakis Second Life architecture http://cargocollective.com/manetas/filter/Second-Life/NEEN-NEEN-WORLD Baerry Mcgee at Deitch Projects http://www.ratio3.org/artists/barry-mcgee/exhibitions/one-more-thing Hans Ulrich Obrist https://en.wikipedia.org/wiki/Hans-Ulrich_Obrist The Serpentine http://www.serpentinegalleries.org/ Marina Abramovic, The Artist is Present https://www.moma.org/learn/moma_learning/marina-abramovic-marina-abramovic-the-artist-is-present-2010 Kazimir Malevich http://www.tate.org.uk/whats-on/tate-modern/exhibition/malevich Jeff Koons hanging heart http://www.jeffkoons.com/artwork/celebration/hanging-heart-0 George Lucas’ Museum of Narrative Art http://lucasmuseum.org/ Marina Abromovich Performance Art Museum https://news.artnet.com/art-world/marina-abramovic-cancels-planned-rem-koolhaus-building-1108310 Barnes Collection https://www.barnesfoundation.org/ Fred Wilson https://art21.org/artist/fred-wilson/ Jubal Brown (Jeremy’s friend who threw up on museum paintings) https://en.wikipedia.org/wiki/Jubal_Brown#Controversies

Yes the world is full of hate, but it’s also full of Cartoons! Rafael and I discuss the history, present and future of animation, cracking open the door to a land called childhood, a world where joy and laughter still reign supreme. Oprha’s Sleep Schedule http://www.smh.com.au/lifestyle/diet-and-fitness/oprahs-sleep-habits-sevenminute-wakeup-window-and-five-hours-a-night-20151013-gk7wpr.html The myth of the eight-hour sleep http://www.bbc.com/news/magazine-16964783 Google Brand Identity https://design.google/library/evolving-google-identity/ Samsung Frame TV http://www.samsung.com/us/explore/frame-tv/highlights/ Zoetrope https://en.wikipedia.org/wiki/Zoetrope The Horse in Motion, Edward Muybrige http://100photos.time.com/photos/eadweard-muybridge-horse-in-motion Who Framed Roger Rabbit https://www.youtube.com/watch?v=gpDaNqSXxp0 Flintsones live action trailer https://www.youtube.com/watch?v=pMnEbfzllso The Simpsons in Real Life https://www.youtube.com/watch?v=8XY9empMtY4 Fresco Cartoon https://www.royalacademy.org.uk/article/daniel-maclise-what-is-a-cartoon Cartoon no.1 in Punch Magazine https://en.wikipedia.org/wiki/Cartoon#Print_media) Mondrian Disney postcards https://www.theguardian.com/artanddesign/2010/jun/25/artist-piet-mondrian-london-years History Punch and Judy http://www.vam.ac.uk/content/articles/t/thats-the-way-to-do-it!-a-history-of-punch-and-judy/ Woody the Woodpecker (1941) https://www.youtube.com/watch?v=ukDs7wScLUI Steamboat Willie https://www.youtube.com/watch?v=BBgghnQF6E4 Ub Iwerks (Mickey Mouse originator) https://en.wikipedia.org/wiki/Ub_Iwerks Oswald the rabbit https://www.youtube.com/watch?v=1B2ET6irhF0 Alice’s Wonderland(1923) https://www.youtube.com/watch?v=5CR8LxkoB_0 Snow White (1937) https://www.youtube.com/watch?v=w0rj2uyWdpU Gertie the Dinosaur (1914) https://www.youtube.com/watch?v=TGXC8gXOPoU Cel https://en.wikipedia.org/wiki/Cel Onion Skinning https://en.wikipedia.org/wiki/Onion_skinning Nicholas Sassoon http://nicolassassoon.com/ Lenticular Printing https://en.wikipedia.org/wiki/Lenticular_printing Polar Express (2014) https://www.youtube.com/watch?v=TQhRqtt-Fpo Final Fantasy: The Spirits Within (2001) https://www.youtube.com/watch?v=VTThKNh7K1I Uncanny Valley https://www.buzzfeed.com/danmeth/welcome-to-uncanny-valley?utm_term=.ko87bqZ52#.quXBEdZ9q Uncanny Valley original essay http://spectrum.ieee.org/automaton/robotics/humanoids/the-uncanny-valley Why Saturday Morning Cartoons Disappeared https://www.youtube.com/watch?v=3cpUDtW1cV8 The Black Cauldron (1985) - movie that scared a young Rafael https://www.youtube.com/watch?v=lHiyYSuveJ4 Faceshift https://www.youtube.com/watch?v=RLfAmNDNgHk Andy Serkis as Golum https://www.youtube.com/watch?v=mbW-Zv_kR5Q Terminator 2 https://www.youtube.com/watch?v=-xyLVKV9020 South Park https://www.youtube.com/watch?v=3YRq7mP3hsU&list=PLMyAp96WXIuP9VqFkhvL-kWoUGWE4gYxy Inbetweening https://en.wikipedia.org/wiki/Inbetweening Oskar Fischinger (1938) https://www.youtube.com/watch?v=they7m6YePo Norman McLaren - Dots (1940) https://www.youtube.com/watch?v=E3-vsKwQ0Cg Symphonie Diagonale (1925) Vinking Eggeling https://www.youtube.com/watch?v=IZ3ptXxqx3M Rythmus 21 (1921) Hans Richter https://www.youtube.com/watch?v=1u8jWmysGMw MGM (1975) Jack Goldstein https://www.youtube.com/watch?v=YlN5Jkr9Gew Fantasia (1940) https://www.youtube.com/watch?v=l_EDBM1tOEo How to Make Fun of Nazis https://www.nytimes.com/2017/08/17/opinion/how-to-make-fun-of-nazis.html?_r=0

Daniele Gatti on life as the new Chief Conductor of the Royal Concertgebouw Orchestra, plus Sara Mohr-Pietsch examines the life and work of avant-garde American composer Milton Babbitt and 19th-Century conductor Hans Richter.

DREAMS THAT MONEY CAN BUY (1947) de l'artiste et cinéaste surréaliste HANS RICHTER. Cette semaine au 7ème Antiquaire on plonge dans le subconscient collectif de plusieurs artistes qui ont contribué à ce film dada-surréaliste qui consolide l'avant-garde et le grand public, le film expérimental et le divertissement. Ont contribué au projet: Max Ernst, Marcel Duchamp, Man Ray, Fernand Léger, John Cage et plusieurs autres artistes importants. Film mal aimé, nous allons lui redonner le mérite qui lui est dû.

DREAMS THAT MONEY CAN BUY (1947) de l’artiste et cinéaste surréaliste HANS RICHTER. Cette semaine au 7ème Antiquaire on plonge dans le subconscient collectif de plusieurs artistes qui ont contribué à ce film dada-surréaliste qui consolide l'avant-garde et le grand public, le film expérimental et le divertissement. Ont contribué au projet: Max Ernst, Marcel Duchamp, Man Ray, Fernand Léger, John Cage et plusieurs autres artistes importants. Film mal aimé, nous allons lui redonner le mérite qui lui est dû.

Starring Craig as Hans Richter, Yoda Shepler, and Temptress Princess Charmaine.